Acharyaji Na Bar Maswada - Book Summary

Here's a comprehensive summary of the provided Jain text, "Acharyaji na Bar Maswada," based on the given pages:

Book Title: Acharyaji na Bar Maswada Author(s): Suyashchandravijay, Sujaschandravijay (Editors/Compilers) Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229433/1

Overall Context:

The text is an introduction and the beginning of a Jain poem titled "Acharyaji na Bar Maswada" (Twelve Months of Acharyaji). It is an analysis and presentation of a medieval Jain poetic work. The introduction highlights that the "Bar Masa" (Twelve Months) literary genre, prevalent from the 13th to the 19th century, typically described the emotional states of separation and union, often linked to the natural changes of the twelve months. However, this specific work, while following the monthly structure, focuses on a dialogue between a mother and her son about renunciation (diksha), thus emphasizing detachment (vairagya) over romantic sentiments.

Content Breakdown:

Introduction of the Genre and the Poem:
- The "Bar Masa" literature is described as a type of medieval poetry where poets, both Jain and non-Jain, depicted the romantic emotions of separation and union.
- The core of this poetry lies in describing the feelings evoked by the natural conditions of each of the twelve months.
- This particular poem, "Acharyaji na Bar Maswada," also portrays similar emotions but shifts the focus from romanticism to detachment. This is achieved through a dialogue between a mother and her son regarding the son's desire for renunciation (diksha).
Poem's Narrative Structure:
- The poet begins by offering salutations to Goddess Saraswati.
- The poem establishes a background: the village of the poet's guru, the names of the parents, the birth of a son after a dream, the naming of the son, and the son's aspiration to renounce worldly life.
- The main body of the poem starts with the month of Margashirsha (approx. November-December) and proceeds through all twelve months.
- In each month, the poem describes the enjoyments and experiences available. The mother tries to persuade her son not to renounce the world.
- The son, identified as Jaswant, connects these worldly pleasures to the principles of Dharma (righteousness) and seeks permission from his mother for his ascetic life (sanyam).
- The poem concludes with the poet mentioning the year of Jaswantji's diksha, a brief account of his own guru lineage, the year of the poem's composition, and his own name.
Authorship and Lineage:
- The poem is attributed to Gangdas.
- It describes the diksha of Jaswant Rishi, who belonged to the tradition of Roop Rishi of the Lokgachha.
- The editor infers that the author, Gangdas, was likely from the same tradition as Jaswant Rishi.
- A lineage of Lokgachha ascetics is provided, starting from Roop Rishi and including ascetics like Gangmuni (Gangji).
- The text mentions that Gangji (a different ascetic) composed works around the year 1760 Vikrami Samvat. However, this poem is dated Samyat 1659 Vikrami.
- This discrepancy in dates raises the possibility that the author Gangdas might be different from Gangji, or there could be an error in the manuscript (lahia) where 1759 was mistakenly written as 1659.
Manuscript and Textual Issues:
- The manuscript has some passages that are incomplete or unclear due to the carelessness of scribes. These passages are presented as they are.
- The text acknowledges the sources of the manuscript: one copy is from the "Nemi-Vigyan-Kastursuriji Bhandar" in the Zero-X section, and the original copy is from the "Bhavnagar Shri Shrutgyanpracharaka Sabha." Gratitude is expressed to the Bhandar managers.
Glossary (Shabdakosh):
- A list of Gujarati words with their meanings is provided, helping to understand the poetic language. Examples include:
  - Kahn'i = Near
  - Juhar = Salutations
  - Yanga = Sacrifice
  - Drav = Money (Dravya)
  - Vedyu = Mind
  - Chola = Garments
  - Salana = Salad/Pickle
  - Varani = Of high caste?
  - Phutara = Beautiful
  - Phopha = Coconut
  - Nirvasi = Filled with water
  - Tripti = Satisfaction
  - Saphar = Expensive?
  - Kabhay = Upper garment (Angarkha)
  - Pachevadi = Shawl
  - Kesuy = A type of flower (Palash)
  - Koil = Cuckoo
  - Premal = Fragrance
  - Mi = I
  - Yamiu = Spoke
  - Kamam = Where
  - Chhavit = Beautiful
  - Nirvani = Necessary
  - Paraharam = To leave
  - Utraram = Will descend
  - Punayo Unnayo = Raised high in the sky (or Ascended)
  - Lavai = Speaks
  - Paris = Endurance (Parishaha)
  - Sudham = Truth
  - Prajii = Abundant
The Poem's Excerpts (Beginning):
- Salutations: The poem begins with salutations to the Acharyas and the Guru lineage.
- Setting: It describes a beautiful village in the Marudhar region, like Indra's city, as the birthplace and residence of the parents.
- Parents: The father, Parbat Sah Vahvariya, and mother, Sundari, are introduced. The mother is described as wise, the crest-jewel of conduct, and speaking sweet words of devotion to her husband.
- Jaswant's Birth: A dream of seeing the moon leads to the birth of a son, considered an avatar of Indra, who is named Jaswant. He brings joy and fulfillment.
- Jaswant's Inclination: Jaswant, after receiving religious teachings from his guru, realizes the impermanence of worldly life and desires to take up asceticism. He approaches his mother for permission.
- Mother's Plea (Margashirsha): The mother persuades him to reconsider, mentioning the expense of a wedding and the joy of worldly pleasures. She points out that he is still young.
- Jaswant's Response: Jaswant, with folded hands, states his mind is set on marrying the "Nari" (woman) of Sanyam (asceticism), not worldly marriage.
- Month-by-Month Descriptions (starting with Paush):
  - Paush (Dec-Jan): Jaswant describes the simple food and beautiful clothes, but notes that even these, meant to satisfy hunger, do not bring true satisfaction. He contrasts this with the ideal of associating with saints.
  - Magh (Jan-Feb): He describes the cold weather, wearing warm clothes and cloaks. He then connects this to the suffering of humans and animals in the cold and seeks his mother's understanding to overcome this suffering through renunciation.
  - Phalgun (Feb-Mar): He describes the vibrant Holi festival with the colors of Palashe flowers, singing and merriment. He then states that one should not harbor attachment to such worldly pleasures, but rather associate with saints.
  - Chaitra (Mar-Apr): He describes the pleasant spring season with mango blossoms and the calls of cuckoos, spreading fragrance. He expresses a desire to enjoy these sensory pleasures but then immediately contrasts it with the eternal joy of the soul and the practice of Jain vows, seeking the coolness of his guru's blessings to overcome the heat of karmic suffering.
  - Vaishakh (Apr-May): He notes the difficulty of practicing asceticism during this season due to the intense heat of the sun and the burning sensation. He talks about wearing light clothing and enjoying worldly comforts with family, but then expresses a desire to sing devotional songs and not harm others, indicating a leaning towards detachment.
  - Jeth (May-Jun): He describes the beginning of the rainy season with birds building nests, but also the onset of laziness. He emphasizes the need for shelter, contrasting the temporary shelters of humans with the ultimate shelter of liberation (nirvani) sought through asceticism, leading him to abandon laziness.
  - Ashadh (Jun-Jul): He describes the heavy rains, lightning, thunder, and the calls of peacocks and cuckoos. He connects this to the experiences of hardships (parisa) that ascetics must endure, recognizing that these are ultimately beyond worldly comprehension.
  - Shravan (Jul-Aug): He describes overflowing rivers, clouds covering the sky, and waterlogged paths. He acknowledges the difficulty of practicing asceticism in such conditions but resolves to follow his vows with diligence, seeking the blessings of Guru Varshingh.
  - Bhadrapad (Aug-Sep): He mentions the arrival of Paryushan (the Jain holy days) and the time for begging for charity and performing good deeds. He expresses a desire to engage in worldly activities with his father's blessings, but then turns to the idea of seeking blessedness and permission from his mother for his path.
  - Ashoj (Sep-Oct): He describes the beauty of the season and the Diwali festival, with lamps lit everywhere and joyous celebrations. He notes that his mother wants him to share in this happiness. However, he counterpoints that true and lasting happiness is found in following the path of righteousness, which does not cause suffering.
  - Kartik (Oct-Nov): He mentions the arrival of the revered saints and the preparations of Jaswantji for diksha. He describes overcoming attachment, greed, and thirst. With folded hands, Jaswantji takes the vows of asceticism from the revered saint.
Colophon and Date:
- The poem was composed in Samyat 1659 Vikrami, on the 13th of Maha Shukla (Magh month).
- The concluding verses (Kalash) mention the lineage of gurus: Shri Jivraj Rishivar, Shri Pujya Munivar, and finally Shri Jaswant Yati, praising their virtues and spiritual strength.
- The composer is identified as Gangdas, who wrote it on the 7th of Kartik Shukla in Samyat 1659 Vikrami (this seems to be a slight contradiction or a secondary dating for a part of the work, as the main date mentioned earlier is Maha Shukla 13).
- The work is titled "Acharyaji na Bar Maswada" and concludes with "Shubham Bhavatu" (May it be auspicious).
- It is dedicated to the reader for their benefit, with a mention of Nemiprasnachandra Smriti Bhavan, Palitana.

In essence, "Acharyaji na Bar Maswada" is a significant Jain poem that uses the popular "Bar Masa" framework to narrate a deeply spiritual story of a young man's journey towards renunciation, guided by his quest for true happiness and his commitment to Jain principles, despite his mother's worldly desires.