Adinath Ballila - Book Summary

Here's a comprehensive summary of the Jain text "Adinath Ballila" by Shilchandrasuri, based on the provided pages:

Book Title: Adinath Ballila (Childhood Play of Adinath) Author: Shilchandrasuri (Though the authorship is not definitively confirmed within the primary work, a connected devotional hymn suggests 'Sudhanharsh' as a possible author or scribe). Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229380/1

Overall Summary:

"Adinath Ballila" is a short, devotional lyrical composition (likely in the 'Lavani' style) that beautifully depicts the childhood activities and divine adornment of Lord Adinath, the first Tirthankara of Jainism. The text describes the Lord's playful interactions with gods and goddesses, his requests for sweets from his mother Marudevi, and the subsequent bathing and feeding rituals. The work is rich in descriptive language, especially when detailing the food items offered to the child deity.

Key Aspects and Content:

Authorship and Dating: The exact author is uncertain due to the absence of explicit attribution in the main "Ballila" section. However, a "Chaitya Vandan" (devotional hymn to the twenty-four Tirthankaras) found on the reverse of the manuscript shares similar handwriting. This hymn is attributed to "Sudhanharsh," leading to the possibility that he either wrote the "Ballila" or at least copied it. The manuscript itself is dated to Samvat 1841 (approximately 1784 AD), placing the composition in the 19th century.
Linguistic Influences: The language shows a strong influence of the Northern Gujarat dialect, with some Marathi words also evident. Examples of Marathi include "ata" (meaning "now," "immediately") in verse 21, which is identified as a clearly Marathi word.
Structure and Content of the "Ballila":
- Pledge to Describe Childhood Play: The composition begins with the author's promise to describe the childhood activities of the Lord.
- Adornment and Divine Beauty: Subsequent verses (1-8) focus on the Lord's magnificent attire and adornments. This includes his crown, golden earrings, a radiant tuft of hair, armbands, waistbands, anklets with jingling bells, a magnificent necklace, a saffron-colored upper garment, and embroidered footwear. His immense beauty is described as being beyond comprehension, even surpassing Indra.
- Childhood Games ('Ramati'): Verses 9-10 describe the Lord's games, referred to as 'Ramati'. These include playing with balls ('gedi-dedi'), tops ('chakradi-bharmadi'), flutes ('vansali-venu'), and bows ('dhanush'). The divine beings (gods and goddesses) are depicted as his playmates.
- Request for Sweets: When playing, the child Adinath feels hungry. He calls out to his mother, Marudevi, asking for sweets ('sukhadi').
- Mother's Affection and Offerings: Marudevi calls him to her, promising to give him various delicious 'bhaag' (offerings or delicacies) if he stops playing and comes. Verses 12-19 meticulously list a wide array of fruits, dry fruits, grains, and sweet preparations. These include:
  - Fruits: Dates ('kharyak'), dried grapes ('drakh'), pomegranates ('dadimkali'), mangoes ('ambani katali'), lemons ('limbu'), gooseberries ('amlani'), karamkha, jambira, bijora.
  - Dry Fruits and Nuts: Almonds ('badam'), walnuts ('akhod').
  - Grains and Preparations: Wheat ('ghau'), puffed wheat ('thothadi', 'dhani'), rice ('jilua'), semolina ('suji'), ladoos ('ladua'), khichdi, roti, various types of pancakes and flatbreads.
  - Sweets and Delicacies: 'Sukhadi' (a popular sweet made from wheat flour, ghee, and jaggery), 'panchamrit' (a mixture of five nectars), jaggery ('sakhar'), ghee ('ghi'), milk ('dudh'), 'jalebi', 'rasgulla', 'gulab jamun' (implied by descriptions of milk and sugar preparations), and many other elaborate sweet dishes.
- Bathing Ritual: Verses 20-26 describe the mother taking her tired son into her lap and coaxing him to bathe. The bathing ritual is detailed, involving fragrant oils ('mogrel', 'champel'), saffron, a copper vessel filled with pure water, and a golden basin. The description highlights the divine purity and grandeur of the process.
- Mealtime Preparations: Verses 27-52 are dedicated to an elaborate description of the food offered during his meal. This section lists an extensive variety of dishes, including various types of sweets, savory items, and preparations made from grains, pulses, and fruits. This detailed listing contributes to the devotional fervor, akin to the 'manorath' offerings made to deities in Vaishnav traditions.
- Post-Meal Activities: After the meal, the Lord is put to sleep on a comfortable bed described in verses 51-52, made of gold, with a soft mattress and pillows.
- Conclusion: The text concludes with verses 53-54, referring to the Lord's attainment of the five sacraments, his position as the lord of Ayodhya, and a blessing for his long life. The final line declares the completion of "Adinath Ballila."
Lexical Insights: The text includes a section that attempts to explain the meaning of certain words used, such as:
- 'Ramati': Game
- 'Markadlo': Related to a gentle smile (modern 'markalda')
- 'Khalah': Likely 'kharela-lili khare', meaning seasoned or cooked vegetables.
- 'Pukh': Puffed grain.
- 'Mogrel': Oil from the Mogra flower.
- 'Champel': Sesame oil or scented oil.
- 'Doile': By means of a basin/container.
- 'Indi pindi': Indicating a playful gesture or action.
- 'Takchi': Possibly a Marathi word.
- 'Thothadi': Puffed wheat or grain.
- 'Magathi': Understood as a 'mug' (a type of lentil).
- 'Dudhan': Not deciphered.
- 'Prisu': With ghee.
- 'Shadafal': Possibly 'Sitaphal' (custard apple).
- 'Karamkh': Known now as 'Kamarukh' (star fruit).

Significance:

"Adinath Ballila" is a significant text for its detailed and vivid portrayal of the infancy of the first Tirthankara. It serves as a devotional piece, evoking feelings of love and reverence for Lord Adinath. The extensive list of food items offers a glimpse into culinary practices and preferences of the era, presented in a way that enhances the spiritual experience of the devotee. The manuscript's dated inscription provides valuable historical context for Jain literary studies.