Campumandana — a little known Jaina Campu

Summary

Campu is a mixed genre of Sanskrit literature in which prose and verse are interwoven; rhetoricians explain that a campu makes “the movement or employment of prose and verse together,” which is why the form is also called miśrakāvya (mixed poetry)https://www.wisdomlib.org/history/book/glimpses-of-history-of-sanskrit-literature/d/doc1546762.html#:~:text=That%20form%20of%20poetry%20,52%20Vrat%20Shasti. Verse passages are not merely ornamental; they form part of the narrative itself and relate to the prose like the instrumental accompaniment relates to the vocal part in musichttps://www.wisdomlib.org/history/book/glimpses-of-history-of-sanskrit-literature/d/doc1546762.html#:~:text=have%20preferred%20to%20give%20the,say%20with%20precision%20as%20to. The article “Campumandana — a little known Jaina Campu” introduces a Jaina campu dealing with the well‑known story of Neminātha (Nemi), the 22nd Jina, and his betrothed Rājīmatī. Campumandana is an example of a prose‑poem in which the story is told through alternating passages of ornate prose and verse, allowing the author to comment on philosophical ideas while sustaining narrative excitement. The article opens by defining campu and situates the work within the broader tradition of campu literature. It notes that while campu compositions have long been part of Sanskrit literary culture, few Jaina campu works survive and fewer still focus on the life of a tirthankara. The main part of the article summarises the narrative. According to Jaina tradition, Prince Nemi was engaged to Princess Rājīmatī, daughter of King Ugrasena. On the wedding day, Nemi heard the wails of animals that were to be slaughtered for the feast. Deeply moved, he decided to renounce worldly life then and there and turned away from the marriagehttps://jainpedia.org/themes/people/women-in-the-jain-tradition/rajimati/#:~:text=Prince%20Nemi%20%20had%20wanted,the%20threshold%20of%20the%20door. Rājīmatī initially lamented her fate but, realising that worldly attachments were ultimately empty, she decided to emulate Nemi. In Śvetāmbara versions she travelled to Mount Girnār, where she was caught in a storm and sheltered in a cave. When Nemi’s brother Rathanemi tried to seduce her she preached to him on the vileness of the body, reminding him of his monastic vows; thus she turned him back to the ascetic pathhttps://jainpedia.org/themes/people/women-in-the-jain-tradition/rajimati/#:~:text=In%20%C5%9Avet%C4%81mbara%20%20versions%2C%20after,world%20and%20becomes%20a%20nun. Rājīmatī then renounced and became a nunhttps://jainpedia.org/themes/people/women-in-the-jain-tradition/rajimati/#:~:text=birth%20,world%20and%20becomes%20a%20nun. The article analyses how Campumandana narrates these events, emphasising the emotional intensity of Rājīmatī’s laments and the didactic verses that punctuate the prose. Each section of the campu opens with elaborate descriptions of the characters and settings, followed by shlokas that expound moral or philosophical points such as the impermanence of beauty, compassion for animals and the spiritual equality of men and women. The article also points out differences between Digambara and Śvetāmbara versions: in the former, Rājīmatī remains a laywoman but is still revered as a satī (virtuous woman); in both traditions, she and Nemi attain liberation on the same dayhttps://jainpedia.org/themes/people/women-in-the-jain-tradition/rajimati/#:~:text=Finally%2C%20according%20to%20%C5%9Avet%C4%81mbara%20versions,were%2C%20in%20a%20sense%2C%20reunited.