संस्कृत जैन संधानकाव्य : एक अनुशीलन
By Shreyanshkumar Jain
Summary
The article examines Sanskrit Jain sandhana kavya, which are poems employing shlesha (pun) to convey multiple meanings. The term "sandhana" refers to the technique of combining two or more narratives or objectives within a single poetic work, akin to a single arrow aimed at multiple targets. The foundation of these works is the shlesha alankara, a figure of speech used since the Vedic era, as seen in the Rigveda's dual-meaning mantras. Over time, poets increasingly used this device for intellectual display, leading to compositions with two, three, four, five, seven, or more simultaneous storylines. The primary period for these works is from the 8th to the 19th century. The earliest known shlesha composition is the "Chhattari Atthagatha" by Sanghadasagani, dated to the 5th-6th century, which has fourteen interpretations. Jain scholars were pioneers in creating multi-meaning poems. Key works include the "Dvisandhana Mahakavya" (also known as "Raghava-Pandaviya") by Mahakavi Dhananjaya (8th century), which simultaneously narrates the Ramayana and Mahabharata in 18 cantos, with each verse having two meanings. Another is the "Rishabhanemi Kavya" by Shri Sūrācārya (Vikram Samvat 1090), a dual narrative of the Tirthankaras Rishabhadeva and Neminatha. The "Nabheyanemi Kavya" by Hemachandrasuri (12th century) similarly depicts these two Tirthankaras. Shrutakirti Traividya's "Raghava-Pandaviyam" (c. 1100-1150 CE) is mentioned but its manuscript is lost. Sandhyakaranandi's "Ramacharitam" (1084-1130 CE) uses shlesha to describe King Ramapala and Lord Rama
Conclusion
The document establishes that Jain scholars were pioneers in composing Sanskrit sandhana kavyas, which use shlesha to convey multiple narratives simultaneously. This tradition, flourishing from the 8th to 19th centuries, produced works like Dhananjaya's Dvisandhana Mahakavya, which intertwines the Ramayana and Mahabharata, and Meghavijayagani's Saptasandhana Mahakavya, which weaves seven life stories together. The analysis reveals that these texts were not merely displays of poetic skill but also served as vehicles for preserving and harmonizing diverse religious and cultural narratives. The loss of some works, like Hemachandra's Saptasandhana, underscores the fragility of this literary heritage. Ultimately, the study highlights the sandhana kavya's unique contribution to Sanskrit literature, demonstrating how linguistic dexterity was harnessed to create complex, multi-layered texts that enriched the intellectual and spiritual landscape of their time.