Alankarik Drushti Se Uttaradhyayan Sutra Ek Chintan

Here is a comprehensive summary in English of the provided Jain text, focusing on the analysis of the Uttaradhyayana Sutra from an ornamental (Alankarik) perspective:

The book, "Alankarik Drushti se Uttaradhyayan Sutra Ek Chintan" (A Contemplation of the Uttaradhyayana Sutra from an Ornamental Perspective) by Muni Prakashchandramuni 'Nirbhay', M.A. Sahitya Ratna, is a literary analysis of the Uttaradhyayana Sutra, specifically focusing on its alankaras (figures of speech) and overall literary beauty.

Core Argument and Motivation:

The author's primary motivation stems from the observation that while Jain scriptures are rich in spiritual and philosophical content, their artistic and literary aspects are often overlooked or dismissed by the wider literary world. Many scholars tend to view Jain texts as solely spiritual, lacking literary merit. Muni Prakashchandramuni, as a student of literature, felt it was important to highlight the " कला वैभव" (artistic brilliance) and "बाह्य कला वैभव" (external artistic splendor) of these scriptures. He asserts that the Uttaradhyayana Sutra, in particular, possesses a significant literary dimension beyond its profound spiritual message.

The Uttaradhyayana Sutra: A Reservoir of Gems

The author describes the Uttaradhyayana Sutra as a "सागर" (ocean) filled with "अनमोल रत्न" (priceless gems). It is considered the final sermon of Lord Mahavir and holds a highly revered place in Jain tradition. Its importance is further underscored by the extensive commentaries and analyses written on it by scholars. The Sutra is noted for encompassing all four anuyogas (branches of Jain literature): Charanakarananuyoga (conduct), Dharmanuyoga (philosophy/teachings), Ganitanuyoga (mathematics), and Dravyanuyoga (substance). This multi-faceted nature makes it a veritable treasure trove of life philosophy, spirituality, religion, philosophy, history, and narratives.

Focus on "Alankara" (Figures of Speech):

While acknowledging that a comprehensive analysis of all literary aspects like rasa (emotion), chhand (meter), bhasha (language), shaili (style), and prateek (symbolism) would be extensive, this particular essay focuses solely on the alankara (figures of speech). The author believes that a deep dive into these figures of speech will reveal the Sutra's literary depth.

Findings: A Rich Tapestry of Alankaras:

The author then proceeds to systematically analyze various adhyayas (chapters) and gathas (verses) of the Uttaradhyayana Sutra, identifying and explaining a wide range of alankaras. The Sutra, though primarily didactic and narrative, is found to be replete with various figures of speech, particularly:

• Upama (Simile): Comparisons using "like" or "as" are abundant, drawing parallels between spiritual truths and everyday phenomena.
• Rupak (Metaphor): The Sutra frequently employs metaphors, equating one thing to another to convey deeper meaning.
• Udaharana (Example/Illustration): Given the didactic nature, examples are a common way to explain concepts.
• Arthantaran-nyasa (Generalization/Illustration): This figure of speech involves using a general statement to support a specific instance or vice versa.
• Yamak (Rhyme/Repetition): Repetition of words or phrases for rhythmic and aesthetic effect is noted.
• Anupras (Alliteration/Assonance): The repetition of consonant or vowel sounds to create musicality is frequently observed.
• Virodhabhasa (Paradox/Contradiction): Apparent contradictions that resolve into a deeper meaning are identified.
• Atishyokti (Hyperbole/Exaggeration): Exaggeration is used for emphasis.
• Apahnuti (Concealment/Suppression): Where a truth is presented as something else.
• Shlesh (Pun/Double Meaning): Words with multiple meanings are utilized.
• Parisimkhya (Enumeration/Limitation): A specific enumeration or limitation of a concept.
• Sabhavokti (Natural Description): A direct and natural description of something.
• Anyokti (Indirect Expression/Allegory): Conveying meaning through indirect suggestion.
• Akshipta (Implication): Implying something without stating it directly.
• Asambhava (Impossibility): Describing something as impossible, often for rhetorical effect.

Methodology and Resources:

The author has meticulously gone through all 36 chapters, identifying specific verses and the alankaras present within them. He relies on the translations and commentaries by Acharya Shri Atmramji M. and Mahasati Shri Chandanaji, and for the definition of alankaras, he refers to "Sankshipt Alankar Manjari" by Seth Kanhaiyalal Poddar.

Conclusion:

Muni Prakashchandramuni's work is a significant attempt to bridge the gap between spiritual scholarship and literary appreciation of Jain texts. He argues that by recognizing and analyzing the alankaras in the Uttaradhyayana Sutra, one can gain a deeper appreciation for its artistic brilliance, challenging the notion that Jain scriptures lack literary sophistication. He concludes that the Sutra is as profound in its artistic and literary dimensions as it is in its spiritual content. He also humbly acknowledges the possibility of errors in his analysis and seeks forgiveness from the readers.