Bar Bhavna

Here's a comprehensive summary of the Jain text "Bar Bhavna" by Shilchandrasuri, based on the provided catalog link and the text itself:

Title: Bar Bhavna (Twelve Reflections) Author: Shilchandrasuri (attributed) Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229329/1

Introduction to the Work and Author:

The introduction highlights that the work "Bar Bhavna" is attributed to Shilchandrasuri, whose original monastic name was Muni Labhanand. It is widely accepted that he adopted the name Anandghan as an avadhuta-svarupi yogi (a yogi detached from worldly affairs). While there is extensive discussion about Anandghan's name and lineage, these details are considered extraneous here. Anandghan is definitively identified as a Jain monk from the 17th century, recognized as a yogi and a devoted practitioner.

Two of his prominent and well-known compositions are the "Stavan Chovishi" (a collection of 22 devotional hymns) and "Pad Bahoteri" (a collection of 72 verses/songs). No other compositions by him were known until recently.

The current edition of "Bar Bhavna" has been compiled and edited by Muni Shri Dhurandharvijayji Maharaj, a learned and insightful researcher. He discovered this previously unknown work from scattered pages. The name "Bar Bhavna" is derived from an inscription at the end of the manuscript: " iti bar bhavna atm svarupa labhanandjikṛtā samāptā" (Thus, Bar Bhavna, of the nature of the Self, completed by Labhanandji). The language and structure of the entire work strongly suggest that it is indeed by Anandghan (Labhanand), as such complex and profound expressions are characteristic of him.

The work begins in a unique manner with the phrase "Ath avadhukīrtilikhate" (Now, the praises of the Avadhuta are written). This opening suggests a song or praise dedicated to or by an "avadhuta," hinting at the author's deep internal spiritual state.

Content and Themes of "Bar Bhavna":

"Bar Bhavna" comprises 39 verses (kadis) and expounds upon the well-known Jain concept of Anitya (impermanence) and other related spiritual principles. The author directly delves into the contemplation of these themes from the very first verse, eschewing conventional formalities at the beginning and end of the work. This direct approach is seen as indicative of his detached and elevated spiritual stance.

The language of the composition is primarily Maru-Gurjar or Marwadi-influenced Hindi. Two types of meter are used: Doha and Chhand (which are likely Kundaliyā, though this is left for experts to confirm).

The text emphasizes that Anandghan's language is profound, poignant, and concise. While the subject matter of "Bar Bhavna" (the twelve reflections) is familiar, the way it is presented is challenging to grasp easily. The author has packed the essence of Dravyanuyoga (the branch of Jain philosophy dealing with substances and reality) into this short work, encouraging practitioners to engage in continuous deep contemplation, even then struggling to fully grasp the underlying principles.

Linguistic and Stylistic Observations:

• The language of "Bar Bhavna" is considered more difficult than that of Anandghan's stanzas and songs. It shares similarities with the language used by other spiritual scholars like Banarasidas. Therefore, only experts in such literature can truly decipher its word meanings and achieve accurate textual divisions. The current transcription is presented as per the understanding of the editor.
• The introduction notes that reference books like the "Gujarati Sahitya Kosh (Madhyakal)" do not list 'Labhanand' as a separate poet. However, under 'Anandghan,' there is a mention of his original name being 'Labhanand,' and all his known compositions are attributed to 'Anandghan.' This reinforces the conclusion that 'Labhanand' is indeed Anandghan, and there were no other poets named Labhanand in the medieval period whose works are recorded.

Key Philosophical Concepts Explored (as seen in the verses):

The verses touch upon a range of core Jain philosophical concepts, including:

• Impermanence (Anitya): The transient nature of all worldly possessions, relationships, and even life itself.
• Self-Reliance: The importance of recognizing the true, unchanging nature of the soul (atma) as one's only possession.
• The Illusory Nature of the Worldly Life: Describing the world as a stage where the soul plays various roles, influenced by the physical body and external circumstances.
• Duality: The distinction between the soul (Jiva) and non-soul (Pudgal) and the recognition of the soul's inherent purity.
• Aasrav (Inflow of Karmas): The causes and nature of karmic influx, emphasizing that the soul itself does not cause it.
• Samvar (Cessation of Karmas): The practice of restraining the influx of karmas through right knowledge and conduct.
• Nirjara (Shedding of Karmas): The process of purging accumulated karmas through austerities and devotion, leading to liberation.
• True Dharma (Righteousness): Distinguishing true dharma from external rituals, fasting, charity, and worship. True dharma is described as the inherent nature of the soul itself, realized through right knowledge.
• The Soul's True Nature: The soul is described as pure, luminous, and blissful, unaffected by external influences or afflictions.
• Liberation (Moksha): Attaining liberation is presented as a state of ultimate bliss and freedom, attainable through self-realization and the shedding of karmas.

Structure and Meter:

The work is structured into verses, primarily using the Doha and Chhand meters. The verses guide the reader through a series of reflections on impermanence, the nature of the soul, the karmic cycle, and the path to liberation. The use of metaphors like the "hansa" (swan), symbolizing discernment and purity, is also evident.

Conclusion of the Text:

The work concludes with the explicit statement "इति बारभावना आत्मस्वरूपा लाभानंदजी कृतः समाप्तः" (Thus, Bar Bhavna, of the nature of the Self, completed by Labhanandji). The accompanying table (Cadi Cr. Shabda Artha) likely lists the verse numbers, key words, and their meanings, aiding in the comprehension of the text.

In essence, "Bar Bhavna" is a profound and challenging spiritual exposition by Anandghan (Labhanand) that delves into the fundamental tenets of Jain philosophy, urging the reader towards self-realization and liberation through deep contemplation of impermanence and the soul's true nature.