Adhunik Hindi Jain Mahakavya Sima Aur Sambhavana

Here's a comprehensive summary of the provided text from "Adhunik Hindi Jain Mahakavya: Seema aur Sambhavana" by Indu Rai:

The article discusses the landscape and potential of modern Hindi Jain epic poetry. It begins by defining epic poetry as the most developed and rich genre in literature, characterized by its grand scale, profound thought, and creative dignity. Epics are seen as powerful vehicles for embodying universal human ideals, sentiments, and the evolution of human consciousness, often serving as a source of fame for the poet. The emergence of modern Hindi epics is linked to the political and religious renaissance in India, where politics itself was closely tied to dharma (righteousness). Religious consciousness is identified as the driving force behind most modern Hindi epics, with Jain epics holding a significant place within this tradition.

The author notes that while Jain literature is rooted in a specific religion, its poetic value is undeniable. Unfortunately, Jain literature has received limited attention from scholars and critics, often dismissed as purely sectarian. While non-Jain Hindi epics have been extensively researched, modern Jain epic poems, novels, and stories require more scholarly study.

Defining epic poetry is challenging, as definitions can be overly broad or narrow, and true poetic genius often transcends predefined rules. However, the author suggests that an epic is a progressive, verse-structured, narrative work aiming to solve the problems of its era, fulfilling various societal, religious, or psychological expectations. Beyond sheer size and ornamentation, the defining qualities of an epic include profound emotion, a well-structured narrative, comprehensive social and cultural consciousness, and the portrayal of an ideal-oriented life of the protagonist (who can be of any caste, class, or gender). The core essence lies in its vitality, impact, and capacity to evoke rasa (aesthetic emotion) that makes it universally enjoyable and timeless.

The author acknowledges the immense challenge of writing epics, requiring not only great poetic talent but also years of dedication. The fast-paced nature of modern life makes the long wait for one's work to be recognized less appealing, leading to a preference for extended poems that can capture the surrounding environment and present solutions to complex problems. This "haste" tendency, coupled with the inherent difficulty of portraying the lives of Tirthankaras (Jain spiritual leaders), presents a significant limitation for Jain epic poets. The lives of Tirthankaras, particularly from childhood to renunciation, offer limited scope for worldly emotions and conflicts, making it challenging to maintain poetic beauty and grace, especially when the available historical accounts primarily focus on their spiritual practices and attainment of liberation, with less emphasis on historical accuracy or the interplay of human emotions.

The article points out that to fulfill the requirements of classical epic traditions, which often include sentiments like shringara (love) and vira (heroism), ancient Jain poets had to resort to unconventional methods. For Tirthankaras who renounced worldly life in their youth, liberation itself had to be portrayed as a heroine, and figures like Kamadeva and Rudradeva were introduced as rivals to provide elements for heroic verses. The extensive depiction of characters' past lives and prophetic dreams preceding significant events are noted as narrative limitations in Jain epics. However, modern Jain epic poets have overcome these challenges, imbuing Tirthankaras' lives with dignity through simple and poignant narratives, adhering to tradition without succumbing to its rigidities. Modern Hindi epics, even under Western influence, retain their Indian and mythological essence, with their narrative structure, verse organization, language, ornamentation, objectives (achieving dharma and moksha), and character conceptualization clearly influenced by ancient Indian epic traditions. Similarly, modern Hindi Jain epics are intrinsically linked to their rich Puranic and historical background, with Puranic texts serving as foundational sources, much like the Ramayana and Mahabharata are for many Hindi epics.

The evolution of Jain poetic literature is traced from the first century CE, with numerous excellent Jain epics composed in Sanskrit and Prakrit until the tenth century. Apabhramsha gained prominence, leading to many Jain epics in that language by the 16th century. While Shadharan's "Pradyumna Charitra" (Paradvana Chaupai) from the 15th century is considered the first Hindi Jain epic, earlier works up to the 19th century show the influence of Apabhramsha, Rajasthani, Gujarati, and other regional dialects. Khadiboli Hindi emerged as a literary form in the 20th century, with the first five decades showing little activity in Hindi Jain epic composition. It's suggested that poets may have believed that composing epics on Tirthankaras according to prescribed classical rules was impossible. However, Pandit Anoop Sharma broke this barrier with his engaging epic "Vardhaman."

"Vardhaman," published in 1951, is a 17-canto epic with 1667 verses, artfully depicting the life of Tirthankara Mahavira in a concise and Sanskritized style. The poet attempted to harmonize Shvetambara and Digambara traditions while employing imagination, though complete adherence to Jain doctrines wasn't always maintained, with Brahmanical influences occasionally surfacing. The initial six cantos depict the love between Mahavira's parents, Trishala and Siddhartha, to compensate for the lack of romantic elements, though these descriptions are not entirely fitting for royal dignity.

In 1956, Virendra Prasad Jain's shorter epic "Tirthankar Bhagwan Mahavir" was published. This work, with seven cantos and 1111 verses, follows the rule of changing meter at the end of each canto and portrays Mahavira's life in a simple, unpretentious, and engaging manner.

Dhanakumar Jain 'Sudhesh' began his epic "Param Jyoti Mahavir" in 1954, published in 1961. He described it as an epic of karuna (compassion), dharmavira (heroism in righteousness), and shanta (peace). This extensive 23-canto epic contains 2516 verses, with each canto having 108 verses and a 33-verse prologue. 'Sudhesh' successfully depicted the political, religious, social, and cultural conditions of Mahavira's time, maintaining the integrity of Jain philosophical beliefs. While detailing Mahavira's four chaturmasas (monsoon retreats) adds completeness, it also leads to unwanted expansion and dullness. Nevertheless, "Param Jyoti Mahavir," composed in the Chaupai meter and simple language, is considered a successful epic. "Shri Rishabhcharitsaar" by Motilal Martand, published in 1964, is a shorter epic that summarizes the story of Rishabhadeva in just 735 verses, limiting the expression of creative talent. The language is Awadhi, close to Khadiboli Hindi, with metrical variations in doha, chaupai, and soratha. This work is significant as the only epic on the first Tirthankara in the Hindi language.

Following Martand's work, Virendra Prasad Jain's "Parshva Prabhakar" (1967) is noted. Similar in scope, language, and style to his earlier work, it covers the life of the 23rd Tirthankara, Parshvanatha, from his past lives to his nirvana. The epic is heavily influenced by Bhudhardas's "Parshva Purana" and comprises 16 cantos with 1385 verses. The poet begins with a description of Kashi's prosperity rather than a traditional invocation, but includes an अनुप्रासमयी (alliterative) invocation to Parshvanatha. The 2500th nirvana anniversary of Mahavira saw the emergence of other notable Hindi Jain epics.

Raghuveer Sharan 'Mitra's "Virayan" (Mahavir Manas Mahakavya), published in 2500 Vir Nirvan Samvat, is divided into 15 cantos. The epic focuses on the far-reaching influence of Mahavira's teachings. While Mahavira's story begins in the fourth canto, the narrative is occasionally interrupted by pleas for the welfare of humanity and the nation, and depictions of generational challenges. However, when viewed in the context of current times, "Virayan" successfully portrays India's problems, social ills, and deficiencies, offering potential solutions. Thus, in terms of goal achievement, artistic refinement, and poetic embellishment, "Virayan" is considered more successful than its narrative content.

On the occasion of Mahavira's 2500th nirvana anniversary, Sadhvi Manjula's epic "Bandhan Mukti" was published. While it may have some shortcomings according to epic standards, it is recognized as an epic from a genre perspective. The epic has nine cantos, including "Simhavalokan" (retrospective glance) which briefly sketches Mahavira's life from birth to youth. Cantos two to seven vividly narrate Mahavira's life as a detached, contemplative, struggling, devoted, and world-benefiting figure in a simple and engaging language. The eighth canto, "Uddhar," movingly portrays the liberation of Chandana Dasi. The final canto offers a simple poetic explanation of Mahavira's principles of ahimsa (non-violence), aparigraha (non-possession), and syadvada (conditionally true assertion).

Dr. Chhail Bihari Gupta's epic "Tirthankar Mahavir" (1976) is structured into eight untitled cantos, adhering to the "Sargabaddho Mahakavyam" (an epic structured in cantos) principle. The poet meticulously preserves historical truth and Jain beliefs (particularly the Digambara tradition). The lyrical quality of the language, imbued with prasad (clarity) and madhurya (sweetness), is commendable, as are the interspersed independent lyrical pieces. "Tirthankar Mahavir" is a successful epic in terms of emotional depth, artistic composition, and the loftiness of its purpose.

A significant achievement in modern Hindi Jain epics is Abhaykumar 'Yaudheya's "Shraman Bhagwan Mahavir Charitra," published in 1976. The epic is divided into eight "stages" (sopana), with the narrative expanding under various headings within each stage. 'Yaudheya' presents Mahavira's life according to the Shvetambara tradition in an energetic and clear language. The inclusion of relevant stories about the Brahmin couple Rishabhadeva-Devananda, Arjunmali, Somasharma the Brahmin, Muni Prasannachandra, Seth Dhanaoo, and Shalibhadra makes "Shraman Bhagwan Mahavir Charitra" a narrative-rich epic.

Other notable modern Hindi Jain epics include "Ahodanam," "Bharatmukti," "Charam Tirthankar Mahavir," and "Sathyarthi." Munishri Vinaykumar's "Ahodanam," with its 100 verses, poignantly and engagingly narrates the life of Sati Chandana. "Bharatmukti," a large 13-canto epic by the prominent Terapanth Acharya Shri Tulsi, was published. Shrimadvijay Vidyachandra Suri's "Charam Tirthankar Mahavir" was released on the occasion of Mahavira's 2500th nirvana anniversary and features 41 colorful illustrations. The epic "Sathyarthi" by Nirav, published in 1978, is a 228-page work that symbolically expresses Mahavira's great life.

In summary, modern Hindi Jain epics are founded on Jain dharma and philosophy. Their protagonists are always Tirthankaras, and the poets' primary aim is to inspire humans towards liberation by detaching them from worldly desires, using the dignified lives of the Tirthankaras as a backdrop. The exaggerated grandeur of Tirthankaras' characters and the inclusion of supernatural elements are intended to make the divine (protagonist) a focal point, fostering unwavering devotion, establishing the greatness of the deity and the humility of the devotee, and conveying the message of virtuous conduct through devotional humility. The mention of heaven and hell, and the description of past lives, serve to establish the Jain doctrine of karma. Thus, the ultimate aim of Jain epics is to demonstrate the attainability of moksha (liberation) through the pursuit of the three aims of life (dharma, artha, and kama). These epics combine the adherence to Puranic tradition with glimpses of novelty. "Virayan," "Bandhanmukti," and "Shraman Bhagwan Mahavir Charitra" showcase a strong modern humanist voice in their depiction of class struggle, opposition to exploitation, condemnation of oppressors, social deformities, and human selfishness. Love and romantic portrayals are limited in Hindi Jain epics. The predominant rasa is shanta, followed by bhakti (devotion), with all other rasas ultimately leading to shanta. The artistic aspect and structural organization of these epics are also elevated and diverse. Their creative inspirations include the revival of glorious Indian (primarily Jain) culture, the portrayal of the dignified character of epoch-making Tirthankaras, attempts to solve contemporary problems, and a strong aspiration for humanity's bright future. Given the number and success of modern Hindi Jain epics, the assertion by some scholars that "epics have no future" seems unfounded. As Jain scriptural sources are further explored, Jain narratives gain prominence in public consciousness, and deeply ingrained perceptions regarding the dignified characters of the Shalakapurushas evolve, the possibilities for creating engaging and excellent Jain epics will grow. Significant national religious events will also inspire poets. While the form of the epic has undergone changes and continues to seek creative transformations, the fact remains that the epic is the highest poetic form, the ultimate achievement of an era, the foundation of a poet's fame, and its future is very bright.

The article concludes by referencing Dr. Mohan Chand's research on Sanskrit Jain epics, which suggests that even ancient Sanskrit Jain epics were influenced by community class consciousness and shaped by social circumstances. These Sanskrit Jain epics, evaluated against classical epic criteria, successfully portray societal conditions in line with the spirit of their times, reflecting the universal trend of epic development.