Polemical works and stories:

Jainism had to contend with other religions to establish it among the masses. For this purpose a few writers engaged themselves in the production of works of popular appeal and taught the doctrines of Jainism through tales and narratives. Humor sarcasm and ridicule play are important part in these works. We have seen before how the "Vaddaradhane" through its nineteen stories, tried to teach a few doctrines of Jainism. The same tradition was continued by Nayasena (1112 A.D) in his Dharmamrita with such changes as his times demanded. The work is divided into fourteen chapters, each expounding a particular doctrine of Jaina conduct followed by an illustrative story. The very first story refers to Vasubhuti who was a Brahmin. Impelled by a desire to have a dip in the Ganges he joins the retinue of a merchant who was bound thither. On the way he makes fun of the merchant for his idiocy in worshipping Jaina ascetics and listening to their preaching. He wants to convert the merchant to his way of life and takes upon himself a vow just to show that he can do it as efficiently as any Jaina ascetic. He fails miserably and becomes the laughing stock of all those around him. There is much humor in the depiction of the story.

The famous stories of Chandrahasa and Ekalavya occur here and some of the Panchatantra tales are made use of. Nayasena was a champion of the desi-style and his method of piling simile upon is reminiscent of the stylistic craft of Bana. Nayasena is a lively and delightful storyteller.

The above writers are of kindred temperament and are motivated by an identical purpose.

Romances:

Nagavarma I in his Kadambari had shown the way in which romantic narratives could be effectively handled in the Champu form. Nemichandra (1170 A.D) adopts the same in his Leelavathi, a great work of fourteen chapters. He finished the composition of the work in one year. Kandarpa, the hero of the story, sees in a dream a most beautiful maiden and with his friend Makaranda sets out in quest of her. Leelavathi, the maiden has a similar dream in which she has a vision of Kandarpa and sends out messengers in his search. Both the parties meet and the dreams of the two lovers become a reality. But soon after they are separated from each other and Leelavathi becomes a creeper. In the end both are united in marriage and live happily. This story has been elaborated in all its details and the sentiment of love is put in the forefront. Nemichandra was a very clever writer and was proud of his ability in depicting the "Sringara Rasa". But he does not aesthetically convince us. The Kusumavali of Devaki (1200 A.D) is another romance built more or less on the same pattern as the Leelavathi, which had the Sanskrit Vasavadatta of Subandhu for its model. A prince by name Manikundala sees in his dream a maiden by the side of the sage Kapila. He and his minister go to the hermitage of the sage and see there a marble statue of a lovely maiden. On being questioned about it Kapila narrates the story, Kundarpa a prince sees a portrait of Kusumavali and goes out in her quest. After some adventure on the way he comes to the city where Kusumavali dwelt. She had by now seen a portrait of Kundarpa and was pining in love for him. Both met, but owing to a mishap Kusumavali was converted in to a statue by Kapila. Finally Kundarpa, by the grace of Kapila, is united with his beloved. The story stops here and the work is incomplete, but 15 chapters are over so far. The story is thin as in the Leelavathi and there is a rank growth of unnecessary description. Devaki has a mellifluous style but, like Nemichandra, is not satisfying. Both lack the ability to create a world of magic and illusion.

Choundarasa (1300 AD) wrote the Abhinava-DashaKumara Charitha and Nala Champu. The latter is popular story of Nala-Damayanthi. The former is a kannada rendering of the Sanskrit prose classic, the DashaKumara Charitha of the poet Dandi. Choundarasa has done his job admirably keeping out the usual excesses of pedantry and artificiality. It may be noted that all these works are chiefly secular in nature.

Technical works:

Rajadhithya (1191 A.D) wrote six treatises on mathematics. He composed the Vyavadhara-ganitha, a work in 8 chapters, in five days. He also wrote a work on geometry and his Leelavathi is probably a translation of the Sanskrit work of the same name. His verses run freely and indicate his power of expression. Kirthivarma (1125 A.D) wrote a Govaidya. He was probably a prince of Chalukya dynasty. In his work, in addition to the exposition of the diseases of cattle and their cure, he preaches kindness to animals. The Karnatakalyana Karaka of Jagaddala Somanatha (1150 AD) is an extensive work in eight chapters on Ayurvedic medicine and is a translation of the Sanskrit KalayanaKaraka of Pujyapada. The poet has at his command a happy diction. Ratta Kavi (1300 AD) wrote a work called Rata-Mata, which treats of meteorological topics. It summarizes the contemporary beliefs regarding the formation and varieties of clouds, rainfall, earthquakes, underground water, thunder and lightening and such objects.

Mangaraja wrote his Khagendra-Mani-Darpana in 1360 AD. It is an important work in 16 chapters treating of the several kinds of poison and antidotes. Natural poisons of organic and inorganic origin and artificial ones made by chemical processes are dealt with. All these technical works have some literary qualities, which affords some delight.

By: Shiva Kumar, Mysore