Aendrastuti Chaturvinshatika - Book Summary

Here's a comprehensive summary of the provided Jain text, "Aendrastuti Chaturvinshatika" (introduction from the 1984 edition by Shri Jain Atmanand Sabha, Bhavnagar), focusing on the information presented in the text itself:

Introduction to the Aendrastuti Chaturvinshatika by Upadhyaya Yashovijaya

This text is an introduction to the Aendrastuti Chaturvinshatika, a composition by the learned scholar and logician, Upadhyaya Yashovijaya. The author of this introduction acknowledges that much has been written about Upadhyaya Yashovijaya, but due to current preparations, this introduction will focus solely on the Stuti (praise).

The Significance of Chaturvinshatika Stutis

The introduction begins by placing Chaturvinshatika Stutis in the context of Jain literature. It states that among the existing Chaturvinshatika Stutis (which are characterized by their poetic form and Yamakalankara - a type of alliterative and assonant embellishment), the one composed by Acharya Bappabhatta is considered the earliest, and the one by Upadhyaya Yashovijaya is the latest.

A List of Known Chaturvinshatika Stutis

The text then enumerates several Chaturvinshatika Stutis that are known to exist, categorized by their verse count:

24-Verse Stutis (often with Yamakalankara):
1. Stuti Chaturvinshatika
2. Aendrastuti Chaturvinshatika by Upadhyaya Yashovijaya
3. Stuti Chaturvinshatika by Meruvijay Gani
4. Stuti Chaturvinshatika (incomplete) by an unknown author
5. Stuti Chaturvinshatika by an unknown author
Stutis with 27 to 39 Verses (often with Yamakalankara):
1. Stuti Chaturvinshatika
2. Stuti Chaturvinshatika (printed)
3. Stuti Chaturvinshatika
4. Stuti Chaturvinshatika by Kavi Chakravarti Shripal (29 verses)
5. Stuti Chaturvinshatika by Samaprabhacharya (27 verses)
6. Stuti Chaturvinshatika by Dhadh Ghosh Suri (28 verses)
7. Stuti Chaturvinshatika by Jinvijay Suri (29 verses)
8. Stuti Chaturvinshatika by Charitratnagar Gani (29 verses)
9. Stuti Chaturvinshatika by Dharmasagar Upadhyaya (29 verses)
10. Stuti Chaturvinshatika by Jinaprabh Suri (27 verses)
11. Stuti Chaturvinshatika in Prakrit (without Yamakalankara) (27 verses)
12. Viharamanjina Chaturvinshatika with Shasvat Jin (27 Arya verses)

The introduction notes that there might be other Chaturvinshatika Stutis not listed here. Most of the listed Chaturvinshatika Stutis praise the Tirthankaras from Rishabhdev to Mahavir and feature Yamakalankara. Other types of stutis, such as those containing the glory of specific days, pilgrimage sites, or Tirthankaras, in various meters and forms (including Chamak and Padpurti), are also available in limited quantities.

Structure of a Chaturvinshatika Stuti

A typical Chaturvinshatika Stuti consists of 24 verses dedicated to each Tirthankara. Additionally, there are three verses that are meant to be recited alongside the Tirthankara verses: one for all Jinaganas (Jinas), one for the Jina's teachings (Jnana), and one for the guardian deities of the doctrine (Shasanadhisthata Devata). Some Chaturvinshatika Stutis may have more than 27 verses due to the inclusion of auspicious beginnings (Mangalacharan) or concluding verses (Kathanama). Those with more than 29 verses might include praise for eternal Jinaganas or specific Tirthankaras like Simandhar Swami.

Biographical Details of Key Figures Mentioned:

The introduction also provides brief biographical information about some of the authors of the Chaturvinshatika Stutis:

Acharya Bappabhatta: Resided in the Panchal region of Punjab. His father's name was Appa, mother's Bhatti, and his given name was Surpal. He took diksha at the age of seven. His primary name was Bhadrakirti. His guru was Acharya Siddhasen. He was a lifelong friend of King Amra of Kanyakubja and accepted him as his guru at the time of his death. He is also credited with converting Mahakavi Shrivatsaraja, the author of the epic "Gaudavaho." Key dates provided are his birth (Samvat 800), diksha (807), acharya position (811), and demise (895). He is credited with the lost work "Taraganana."
Shobhanmuni: Younger brother of the great poet Dhanpal.
Kavi Chakravarti Shripal: Belonged to the Pragvat community (Porwad). His father was Lakshman. He was a childhood friend of Gurjar King Siddhraj, who addressed him as "Kavindra" and "Brother." He was blind. He is associated with the inscription on the Vadnagar fort and the creation of a monumental work whose praise is mentioned by Acharya Hemchandra. His son Siddhpal and grandson Vijaypal were also great poets.
Samaprabhacharya: Was present during the time of King Kumarpaldev and after. He authored works like Muktamuktavali, Sumatinathcharitra, Kumarpalpratibodha, Shringar Vairagya Tarangini, and Shataathi Vritti.
Dhadh Ghosh Suri: A disciple of Devendrasuri, known for his commentaries. He wrote commentaries on Chaiyavandan Bhashya, Shraddhajatakapa, Samavasarana, Yannistava, and Kalasattar.
Jinaprabh Suri: Belonged to the Kharatar Gachchha. He authored many works including Sandehavishapadhika, Vidhiprapaa, and Vividh Tirtha Kalpa. He is highly regarded as a composer of hymns and stotras. He had a vow to compose a new stotra daily before taking food.
Charitratnagar Gani: A disciple of Somamuni Suri. He authored Jnana Pradeep and Chitrakut Vihar Prashasti. He lived in the 15th-16th century.
Dharmasagar Upadhyaya: A disciple of Vijaydansuri and a spiritual brother of Acharya Hiravijaya Suri. He wrote extensively to refute other sects. Notable works include commentaries on Jambudvip Prapti, Kalpakirnavali, Hariyavahiy Shatrikas, Paryapanadashtashatak, Pravachana Pariksha, Dishakivrutti, Okimato Tottra Dipika, and Tapagachchhiya Pattavali.

Relationship with Shobhanmuni's Chaturvinshatika

A significant point made in the introduction is that Upadhyaya Yashovijaya's Aendrastuti Chaturvinshatika is largely an imitation of Shobhanmuni's Chaturvinshatika. This imitation is evident in the meter, embellishments, adjectives, and even the underlying meaning. In many instances, Upadhyaya Yashovijaya has adopted phrases and even entire sentences from Shobhanmuni's work with minor alterations. The author estimates that nearly a quarter of Upadhyaya Yashovijaya's stutis use similar adjectives with only slight word changes. This suggests that Shobhanmuni's stutis served as a primary model for Upadhyaya Yashovijaya in composing his Yamakalankara-filled stutis.

Critique and Editorial Notes

The introduction acknowledges that while Upadhyaya Yashovijaya's work is innovative and profound, like other masters of Yamakalankara, his compositions are not entirely free from minor faults such as:

Kilchartha: Obscure or difficult meanings.
Puravayav: Incomplete or imperfect verses.

While some verses might be free of these faults, the entire work cannot be deemed flawless. The author humbly requests forgiveness from scholars for any shortcomings in this assessment.

Manuscript Information and Editorial Efforts

The introduction also details the manuscript used for this edition:

A single manuscript with commentary was obtained from Pujya Sagaranand Suri Maharaj. It is 24 pages long and recently transcribed.
The original manuscript from which this copy was made was damaged, with missing letters. These gaps are reflected in the new manuscript.
The scribe made numerous errors due to carelessness and lack of familiarity with the script, further contributing to inaccuracies.

Despite the extremely imperfect nature of the manuscript, efforts were made to correct it and reconstruct the missing passages in Upadhyaya Yashovijaya's own words. Corrections are generally incorporated directly into the text rather than in brackets.

Furthermore, an Avachurni (a short commentary or outline) was found in the Jnana Bhandar of Pravartak Shri Kantivijayji, which, though possibly based on the main commentary, assisted in its reconstruction. Pandit Shri Bechharbhai of Valan reviewed the press copy and helped reduce further errors.

The author concludes by expressing hope that scholars will further refine the text if any errors or omissions remain, seeking their indulgence for any unintentional mistakes.