Madanrekha Akhyayika

SR No.: 002639
Original Sutra Author: Jinbhadrasuri
Author: Bechardas Doshi
Publisher: L D Indology Ahmedabad
Publication Year: 1973
Total Pages: 304
Language: Sanskrit, Hindi
Classification: Book_Devnagari & Literature
File Size: 15 MB

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ing to the welfare of the mankind. The product of such a genius being supreme poetry gives a joy comparable to that of chewing a Tambula !2 It is those whose intellect is thoroughly steeped in nine poetic relishes, that may get at the significance of poetry. The poet must always be on his guard to avoid the situation which is devoid of poetic relishes (nirasa).4 Although the delineation of the poetic relishes might be faultless, it is only when accompanied by due display of scholarship that it generates joy. It is not necessary that only the Erotic (Śṛngāra) can be the principal sentiment, since even that tends to boredom. At the same time, for the purpose of proper and full effectiveness even in a work predominating in the Pacific (santa), it is necessary that the Furious (raudra) be enhanced by means of the Erotic. Thus, a good literary piece must delineate nine poetic relishes with freshness, must conduce to the welfare of the listeners (by way of imparting to them religious instruction), must contain highest significance, must be adorned with beautiful poetical embellishments and best of syllables and words, and must at the same time be lucid.8
(ii) Jinabhadrasuri, a self-conscious literary artist :
As literary artist, Jinabhadrasūri at times reveals his self-consciouness about his abilities and skill. The most notable instances to the point are the following:
(a) At the end of the delineation of the beauty of the Spring season in the third Ucchvasa, the poet puts a verse in the mouth of Yuvaraja (1. e. Yugabahu) describing a bunch of Bakula flowers and the bees flying from them. The poet then puts another verse in the mouth of Madanarekha apparently contradicting the imagery of Yugabahu's verse. And immediately the poet proceeds to draw the attention of the audience to the skill exhibited in this process.12
(b) At the end of a couple of verses put in the mouth of the Vaitālikals in the same Ucchvasa, the poet at once takes us by our hand
1. MRA, Intro, vs. 22 cd.
2. Op. cit., vs. 9ab.
3. Op. cit., vs. 23 ab.
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4. Op. cit., vs. 26.
5. Op. cit., vs. 27.
6. Op. cit., vss. 28-29.
7. Op. cit., vs. 30.
8.
Op. cit, vss, 24, 31.
9. Op. cit., pp. 87-90.
10. Op. cit., pp. 89-90, vs. 198.
11. Op. cit., p, 90, vs. 199.
12.
Ibid., p. 90 (8ff.).
13. Op. cit., pp. 92-93, vss, 205-206.