भेंट कवि धनपाल से
By श्री नेमीचन्द पटोरिया
Summary
The text is an imagined interview between the author and the poet Dhanapala, who wrote the Apabhramsha work "Bhavisayattakaha" (Bhavishyadattakatha). Dhanapala clarifies that his name is "Dhanapala" in Sanskrit, but in Apabhramsha it is "Dhanapala" or "Dhanavala," as he wrote in his own text. He explains that the original name of his work is "Suyapancamikaha" (Shrutapancamikatha), but because the hero is Bhavishyadatta, it is also popularly called "Bhavisayattakaha." He states he was born in the Dhakkada merchant family, his father was Mayeshvara, his mother Dhanashri, and he calls himself a son of the goddess Sarasvati. He defends using this title, saying it was a loving title given by the public after he composed four beautiful works, and to reject it would be an insult. He denies self-praise, noting he also called himself "slow-witted" and "ignorant." Dhanapala outlines the story's framework: it begins with an auspicious blessing, then follows the merchant Dhanapala and his wife's anxiety over childlessness, the birth of Bhavishyadatta, the father's second marriage, the birth of Bandhudatta, the sons' journey, a storm at sea, Bandhudatta abandoning Bhavishyadatta on an island, his marriage to a beautiful girl, a reunion with Bandhudatta, betrayal, divine help, justice from the king, and Bhavishyadatta becoming crown prince. The second part involves a war, Bhavishyadatta's victory, his renunciation, and his attainment of liberation. He divides the story into two parts, though some scholars divide it into three. Dhanapala admits the work is not his original creation; it was a popular story he
Conclusion
This interview reveals that the *Bhavisayattakaha* is not an original creation but a poetic rendering of a pre-existing, popular narrative, heavily influenced by the earlier *Bhavishyadattacharitra* of Vividha Shridhara. The author, Dhanapala, clarifies his name, the work's multiple titles, and his Digambara affiliation, which shapes the text's doctrinal content. The detailed outline of the twenty narrative conventions confirms a structured, didactic purpose culminating in the glorification of Shrutapanchami. The implications are significant for scholars: the text serves as a crucial link in a chain of transmission, demonstrating how Jain narratives were adapted and versified over time. Its value lies not in originality but in its preservation and popularization of a key story within the Digambara tradition, offering insights into medieval literary practices, sectarian identity, and the methods of religious instruction through engaging storytelling.