Jain Journal 1992 10

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 59

OCTOBER, 1992
of composing the entire masterpiece in the musical form. In his composition there are references to the various rāgas like Bhupali, Malahāri, Madhu Madhavi, Dhanyasi, Rāmakri, Palamañjari, Desigaula, Säranga, Vasanta and Karungee and the tālas like Addatāla, Atta-tāla, Ghampe-tāla, Voddmatteye etc.26 Though Rama and Lakṣmaṇa are basically the observers of Ahimsa Dharma, they uphold the Ksatriya tenets like Dusta-siksa and Siṣṭa-paripālana. As found in the other versions of the Jaina Rāmāyaṇa, Kumudendu also abides himself to the traditional Jainistic pattern, but with a few glaring changes like the depiction of the fourth wife of Dasaratha namely Suprabha, who is stated to have been the mother of Satrugna. Although the position of Aparajita and Sumitra is unaltered, Kaikeyi is mentioned to have been the mother of only Bharata.
Devacandra, a well known Jaina scholar of the early nineteenth century (1770-1841), too wrote on the theme of the Epic story entitled Ramakathavatara in Kannada prose form. He traces back the origin of the Jaina Rāmāyaṇa to the times of Adideva, the first of the Tirthankaras, who narrated the story to his son, Bharata. This was passed on from generation to generation till it reached Mahavira the last of the Tirthankaras. He in turn, tells the story to the King Śreņika of Magadha, his devout disciple. In the course of time several writers like Kachi Bhaṭṭāraka, Nandi Muni, Kavi Parameşṭhi, Ravisena, Virasena, Siddhasena, Padmanandi, Gunabhadra, Sakalakirti carried the Rāmāyaṇa tradition in their works. Even Kannada writers like Camuṇḍaraya, Nagacandra, Maghanandi Siddhanti, Kumudendu, Nayasena and others continued the same tradition. While concluding his work Devacandra adds that, he has clarified a few doubtful points which were found by him in the narration of Nagacandra's versions of the Rāmāyaṇa on the basis of the Rāmāyaṇa story narrated in Uttara-purāṇa."7
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Candrasagar Varni, another noteworthy Jaina scholar of the nineteenth century also composed Śri Rāmāyaṇa28. He is stated to have composed this work on the request made by the Bhavyas of Ganjam, i.e., the Jaina Śrävakas of Srirangapattana. While featuring the main characters of the story, the author simply adopts the name of revered Kausalya as the mother of Rama. Thus, the scholar sets aside the corresponding names like, Aparājitā, and Subala mentioned in the
26 Ibid., in every Canto-the specified Raga and Tala are mentioned.
27 Devacandra, Ramakathāvatāra. (unpublished, IKS, Mysore).
28 Candra Sagara Varni, Sri Rāmāyaṇa, published by Payasagara Varni, Bidare.