Abhinandan Jin Stotram - Book Summary

Here's a comprehensive summary of the provided Jain text, focusing on the "Abhinandan Jin Stotram" and its commentary:

Book Title: Abhinandan Jin Stotram Author: Amrut Patel Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229379/1

This document is an article titled "August 2011 - Anusandhan-56," featuring a scholarly exploration of the "Abhinandan Jin Stotram" by Pandit Amrut Patel. The primary focus is on the "swopajña avachūrṇi" (self-authored commentary) on this stotram (hymn of praise).

Core of the Text: The "Abhinandan Jin Stotram" and its Unique Feature

The "Abhinandan Jin Stotram" is a hymn dedicated to Lord Abhinandana Jina, the fourth Tirthankara in Jainism. The most striking feature of this stotram is the intentional and extensive use of the word "Saṃvara" (संवर). The title itself indicates that the stotram is "Ashtottaraśata-saṃvara śabdārthagarbhitam", meaning it contains the word "Saṃvara" 108 times, with each instance holding a multitude of meanings and being intricately woven into the text.

The Author's Approach and Scholarly Contribution:

Linguistic Ingenuity: The author, Pandit Amrut Patel, highlights that the original composer of the stotram, Somavimalasuri, was known for his "śatārthī" (possessing a hundred meanings) title. This stotram is a testament to that, employing linguistic artistry and "citrakāvya" (word-picture poetry) techniques.
Exploiting Poetic License: To achieve the "hundred meanings" of "Saṃvara," Somavimalasuri took liberties with linguistic rules, as permitted in "citrakāvya." This included:
- Treating sounds like 'r'/'l', 'b'/'v', 'd'/'l', 'ś'/'s' as interchangeable.
- Ignoring the presence of "anusvāra" (the nasal dot) when it didn't serve the intended meaning.
- Deriving various words from "Saṃvara" itself, such as "Saṃvara-śaṃvala," "Śambara-śaṃbala," "Śabara-śabala," and "vara-bala," by playing with its components and related concepts.
Discovering New Meanings: The commentary explains how the author found new meanings by referencing "anekārtha kośa" (dictionaries of multiple meanings) and exploring the connections between words with dual meanings.
The Commentary (Avachūrṇi): The "swopajña avachūrṇi" is crucial because it meticulously explains these layered meanings. Where the original text might be concise, the commentary provides bracketed explanations ([]) or clarifies the intended meaning of the "Saṃvara" in each verse.
Historical Context: The article notes that the original manuscript of this work is housed in the Lalbhai Dalpatbhai Bharatiya Vidyamandir in Ahmedabad. The author of the stotram, Somavimalasuri, himself completed the work in Sayambila Nagara in V.S. 1656 (1599 CE).

Key Themes and Examples from the Stotram (with Commentary):

The article provides the first few verses of the stotram with their detailed commentary. Here are some examples illustrating the intricate use of "Saṃvara":

Verse 1 (Salutation to Saraswati): The commentary explains the praise of Goddess Saraswati, highlighting the play on words related to "Vīṇā" (lute) and "Prajñālī" (collection of wisdom).
Verse 2 (Praise of Lord Abhinandana): The commentary connects the stotram to the composer's Guru, "Hemavimala," and describes Lord Abhinandana as the son of "Saṃvara-nr̥pa" (King Saṃvara) and "Saṃvara-netrī" (the one with lotus-like eyes). Here, "Saṃvara" likely refers to virtues or the lineage. The Guru is described as having a "vimala saṃvara" (pure body) and being a "saṃvara-dhara" (one who adheres to Saṃvara, i.e., restraint).
Verse 3 (Description of the Lord's Face): The Lord's face is compared to a "saṃvara-ja" (born of water, i.e., a lotus), emphasizing its purity and beauty. The act of offering this lotus-like feet to the Lord's heart is described.
Verse 4-6 (More Descriptions): These verses continue to praise the Lord's attributes, often using "Saṃvara" in conjunction with other words to imply purity, beauty, strength, and divine qualities. For instance, "saṃvara-vāhana" (cloud-like vehicle, referring to Indra), "saṃvara-nidhi" (ocean), "saṃvara-ja" (born of lotus, referring to Brahma), "saṃvara-śāyī" (one who rests on water, referring to Vishnu), and "saṃvara-bandhu" (friend of lotus, referring to the Sun).
Verse 7 (Lord's Attributes): The Lord is described as possessing "saṃvara" (like Hara, i.e., Shiva, in purity), destroying "kashāya-śambara" (the demon of passions), and having "saṃvara-nayana" (eyes like a deer).
Verse 14 (Path of Liberation): The verse speaks of abandoning "aśaṃvara" (what is not restraint) and attaining "saṃvara-dhanatā" (the state of wealth through restraint), implying the path of spiritual discipline.
Verse 17 (Request for Restraint): The prayer is made to the Lord to grant "saṃvara" (restraint) in a way that is "aśoka-saṃvara" (free from sorrow) and "a-vaṃ" (without flaw).
Verse 27 (Curing Afflictions): This verse is particularly significant as it mentions the medicinal properties associated with "Saṃvara." "Ayas-saṃvara" is linked to a famous Ayurvedic medicine for leprosy (kuṣṭha), and "Sitā-saṃvara" refers to sugary water that alleviates the heat of anger (krodha). This directly relates to the historical mention of Somavimalasuri curing leprosy.

Scholarly Notes and References:

The article concludes with important footnotes and references that contextualize the work:

Previous Works with Multiple Meanings: It lists several earlier scholars and their works that also excelled in creating texts with multiple meanings, highlighting the tradition of linguistic creativity in Jain literature.
Somavimalasuri's Background: It provides biographical details about Somavimalasuri, stating he was a disciple of Hemavimalasuri and the successor to the "Saubhagyaharsha" title. It mentions his birth around 1570 CE and his demise in 1637 CE. His other notable works are also mentioned.
The "Saṃvara" Wordplay: It provides references from classical Jain texts (like Hemacandra's dictionaries) that define the various meanings of "Saṃvara" and its derivatives, confirming the basis for the wordplay.

In Essence:

The "Abhinandan Jin Stotram" by Somavimalasuri, as analyzed and presented by Pandit Amrut Patel, is a remarkable example of linguistic brilliance and devotional expression within Jain literature. The stotram's central theme revolves around the word "Saṃvara" (restraint, a core Jain concept), which is used 108 times with a vast array of interconnected meanings. The accompanying commentary meticulously deciphers these layers, showcasing the composer's profound scholarship and creative genius, and offering insights into the philosophical and potentially medicinal aspects of the term.