ध्रारम्भिक
By प्रो. प्रवीणचन्द्र जैन, मुनि नयनन्दी, डॉ. कमलचन्द्र सौगानी
Summary
This PDF introduces a special issue of a magazine dedicated to the Apabhramsha language and the works of the poet Muni Nayanandi, specifically his compositions "Sudansanachariu" and "Sayala Vihi-Vihana Kavva." The text notes that Apabhramsha poetry is characterized by rhyming verse and division into sections called sandhis and kadavakas. Muni Nayanandi belonged to the tradition of Acharya Kundakunda, was a disciple of Manikyanandi, and lived during the reign of King Bhoja. He composed "Sudansanachariu" in Vikram Samvat 1100 while residing in a Jain temple in Dhara Nagari. This work is a khandakavya with 12 sandhis and 207 kadavakas, praised for its engaging story, flawless composition, and depiction of Sudarshana's character, including elements of rasa, alamkara, and descriptions of heroines and seasons. His second work, "Sayala Vihi-Vihana Kavva," contains 58 sandhis and demonstrates his mastery of Apabhramsha, though it remains unpublished. The study of both poems reveals Nayanandi as a selfless saint aiming to spread the message of dharma through poetry. This issue features articles by scholars analyzing his personality, poetic art, use of alamkara, metrical style, and the purpose of his compositions. Additionally, a new series titled "Hemachandra-Apabhramsha-Vyakaran: Sutra Vivechan" by Dr. Kamalchandra Sogani begins in this issue to help readers understand Apabhramsha grammar. The editor expresses gratitude to the contributors, the publication team, and the printers for their dedicated efforts.
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Conclusion
This special issue establishes Muni Nayanandi’s works, particularly the *Sudaṃsaṇacariu* and *Sayala Vihi-Vihāṇa Kavva*, as vital links in Apabhraṃśa literature. The analysis reveals his mastery of 85 meters, his integration of Jain doctrine with poetic artistry, and his success in using accessible language to convey dharma. By examining his narrative style, alaṃkāra, and metrical innovations, the issue demonstrates how Nayanandi achieved his goal of redirecting readers from worldly concerns toward spiritual truth. The inclusion of a new series on Hemacandra’s Apabhraṃśa grammar further equips scholars to engage with this tradition. Ultimately, this collection affirms that Nayanandi’s works are not merely historical artifacts but living texts that continue to illuminate the sophistication and moral purpose of Apabhraṃśa poetry, securing its rightful place within India’s literary heritage.