Apbhramsa Sahitya Me Ramkatha - Book Summary

Here's a comprehensive summary of the Jain text "Apbhramsa Sahitya me Ramkatha" by Devendra Kumar Jain, based on the provided pages:

The book "Apbhramsa Sahitya me Ramkatha" by Devendra Kumar Jain explores the Ramayana tradition within the Apabhramsa literature, asserting that this tradition is primarily a Jain Ramayana tradition, influenced by the broader Jain poetic heritage.

Jain Ramayana Traditions and Influences:

Two main streams: Jain Sanskrit literature features two primary streams of the Ramayana narrative: the tradition of Raviṣeṇa (author of the Sanskrit Padmacarita) and the tradition of Ācārya Guṇabhadra (author of the Uttarapurāṇa).
Historical precedence: While Vimalasūri's Prakrit Paumacariya is historically older, Apabhramsa poets (primarily Digambara Jains) do not typically reference it.
Apabhramsa pioneers: The leading poets of these streams in Apabhramsa are Svayambhū and Puṣpadanta.
Continuity with Valmiki: The Ramayana narratives of Vimalasūri (Prakrit), Raviṣeṇa (Sanskrit), and Svayambhū (Apabhramsa) largely follow the framework of Valmiki's Ramayana. Other poets in the second stream were also inspired by Valmiki in specific episodes and characters.
Valmiki as the first source: Based on available evidence, Valmiki's Ramayana is considered the earliest written source for the Ramayana narrative. When Jain poets inquire about the Jain version of the Ramayana in contrast to "other religions' Ramayana," they are referring to Valmiki's narrative.

Svayambhū and Puṣpadanta: Key Apabhramsa Poets:

Svayambhū and Puṣpadanta are recognized as the initiators and most prominent poets of both Jain Ramayana streams in Apabhramsa. While others followed, their works hold particular significance due to their language and historical period.
Svayambhū's lineage: Svayambhū states that his narrative originates from the "mountain of Lord Mahavir's mouth," passed down through Ganadharas, Ācārya Indrabhūti, and Kīrtidhara. He credits Ācārya Raviṣeṇa's influence for his own understanding. This aligns with Raviṣeṇa's mention of Indrabhūti, Sudharmā, and Kīrtidhara in his Padmacarita.
The question of differing narratives: The text highlights a recurring question posed by King Śreṇika to Gautama Gaṇadhara (in the Paumacariya) and Puṣpadanta's Mahāpurāṇa regarding the Jain version of the Ramayana as seen by Lord Mahavir, contrasting it with popular narratives from other sects. This raises the question of how a narrative originating from a common source can differ within the same religion, and which version should be considered "correct."
The dynamism of narratives: The text explains that even with a common origin, narratives evolve over time and context. This "joining" or adaptation is what keeps them alive and relevant. Svayambhū's statement about his own intellectual engagement with the story underscores this dynamic process, akin to a river taking different turns before reaching the sea.

Comparison of Svayambhū's and Puṣpadanta's Ramayanas:

Structural similarities: The main framework of the Ramayanas by Valmiki, Vimalasūri, Raviṣeṇa, and Svayambhū are largely similar, though details, beliefs, and character portrayals may differ.
Svayambhū's narrative highlights:
- The story begins in Ayodhya with King Daśaratha.
- Vibhīṣaṇa plots against Daśaratha and Rāvaṇa after learning from Sāgarabuddhi that Daśaratha's sons will kill Rāvaṇa due to Janaka's daughter.
- Narada warns Daśaratha and Janaka, leading them to flee after setting up effigies.
- Key events include Sītā choosing Rāma in the svayamvara, the marriage of Lakṣmaṇa and Bharata to princesses, Rāma's exile (prompted by Kaiikēyī's boon, though presented differently), his journey through various ascetic forest hermitages, the encounter with Śambūka, and Candrahāsā's attraction to Lakṣmaṇa.
- Rāvaṇa abducts Sītā through the ruse of Siṃhanāda.
- Rāma receives help from Su-grīva and Hanuman. Hanuman's encounter with Laṅkā-sundarī and meeting with Vibhīṣaṇa are mentioned.
- Sītā, due to considerations of social norms, does not accompany Hanuman immediately.
- After Rāvaṇa's death and establishing Vibhīṣaṇa as king, Rāma returns to Ayodhya.
- Bharata takes Jain initiation.
- Sītā is exiled due to public gossip and gives birth to Lava and Kuśa.
- In the end, Sītā attains Jain initiation and is reborn in the 16th heaven. Rāma also takes initiation and attains liberation.
Puṣpadanta's narrative highlights:
- His Ramayana is part of his Mahāpurāṇa.
- It begins with the previous births of Rāma, Lakṣmaṇa, and Sītā. Rāma is identified with Candracūla, son of King Prajapati.
- Daśaratha is the king of Kāśī at the time of Rāma's birth, having lost Ayodhya. Rāma is born to Subalā, and Lakṣmaṇa to Kaiikēyī.
- Rāma and Lakṣmaṇa go to Janakapuri for a horse sacrifice, leading to Sītā's marriage to Rāma. Sītā is actually Rāvaṇa's daughter, abandoned and found by Janaka.
- Upon returning to Ayodhya, Rāma occupies the "Kāśī state."
- Rāvaṇa, inspired by Nārada, abducts Sītā using Mārica as the golden deer.
- Daśaratha learns of the abduction and sends Bharata and Śatrughna for assistance. Janaka and Su-grīva also offer help.
- Hanuman's role in finding Sītā and conveying messages to Rāvaṇa is described.
- Rāvaṇa is killed in battle, and Rāma returns with Sītā.
- Rāma and Lakṣmaṇa had many queens (eight for Rāma, sixteen thousand for Lakṣmaṇa).
- Sītā ultimately takes Jain initiation.

Key Differences and Interpretations:

Fundamental differences: Despite a common source, there are significant and fundamental differences between Svayambhū's and Puṣpadanta's narratives.
Svayambhū's focus: Svayambhū's Ramayana is described as clear and famous, emphasizing human and cultural values. His portrayal of Rāma's life is more struggle-filled and noble, including events like exile and Sītā's banishment.
Puṣpadanta's focus: Puṣpadanta's narrative appears to focus on the traditional Jain archetypes of Balabhadra and Vāsudeva, with more grandeur and ornamentation. The abduction of Sītā is seen as a common feudal practice.
Karma and previous births: Both authors agree that the suffering experienced by Rāma and Sītā is due to their past-life karma. Svayambhū also details Rāma's previous births, highlighting cycles of attachment and aversion.
Kaiikēyī's role: Both acknowledge Kaiikēyī's choice of Daśaratha.
Lakṣmaṇa's parentage: Puṣpadanta uniquely states Lakṣmaṇa is the son of Kaiikēyī.
Bharata's role: Bharata is a prominent character in Puṣpadanta's narrative, despite his initial mention of the main focus being on Rāma, Rāvaṇa, Sītā, and Hanuman.
Sītā's birth: The origin of Sītā is a point of divergence. While Vimalasūri and Raviṣeṇa consider her Earth's daughter or Janaka's daughter, other traditions (Hindu scriptures, Kashmiri-Tibetan Ramayanas, Khotanese Ramayanas) identify her as Rāvaṇa's daughter. The text also mentions a fascinating interpretation from the Dasharatha Jataka (Java) where Sītā is Dasharatha's daughter and an allegory to Buddha's life, though the author considers this fabricated. The Adbhut Ramayana also presents a story of Sītā being the daughter of a muni, filled by Rāvaṇa's blood.
Adaptation and relevance: The author concludes that the significance of any mythological narrative lies in its ability to adapt to contemporary consciousness and folk beliefs. Jain Puranic poets, like others, had to reconcile their original sources with new historical contexts and create new expressions in a new language.

In essence, the book delves into the Apabhramsa literary landscape of the Ramayana, tracing its Jain lineage, highlighting the seminal contributions of Svayambhū and Puṣpadanta, and critically examining the variations and interpretations within these narratives, particularly concerning theological and ethical frameworks within Jainism.