Bhadrakirti Suri Ki Stutiyo Ka Kavyashastriya Adhyayana

Here's a comprehensive summary of the Jain text "Bhadrakirti Suri ki Stutiyo ka Kavyashastriya Adhyayana" by Mrugendranath Jha, based on the provided text:

This study, "A Poetic-Structural Analysis of the Hymns of Bhadrakirti Suri," authored by Mrugendranath Jha, delves into the poetic qualities and religious significance of the hymns composed by Bhadrakirti Suri, also known as Bappabhattisuri. The author aligns with Professor Madhusudan Dhaki's estimation of Bhadrakirti Suri's period as the 8th century CE.

The book critically examines several of Bhadrakirti Suri's hymns with annotated translations. These include:

• Shri Saraswatikalpa
• Siddhasaraswata Stava
• Sadharan Jina Stava
• Shri Neminijin Stuti
• A Jina Stotra within the 'Prabandh Chatushthaya'

The study notes variations in the text of 'Saraswatikalpa' and 'Siddhasaraswata Stava', addressing them with references to manuscript copies from the L.D. Institute of Indology, Ahmedabad. The author consciously omits a detailed analysis of Bhadrakirti Suri's most extensive work, the 'Stuti Chaturvimsatika,' as it has already been thoroughly edited and critically reviewed by Professor Hiralal Rasikdas Kapadia.

The research frames the analysis within the principles of Indian poetics (Kavya Shastra). It references Acharya Mammata's definition of poetry's purpose, including the removal of inauspiciousness, citing examples like Mayura and Jayadeva who are believed to have dispelled misfortunes through their devotional verses.

The core of the analysis focuses on the internal elements of poetry within Bhadrakirti Suri's hymns, specifically Rasa (sentiment), Guna (quality), and Alankara (ornaments/figures of speech).

Key Poetic Elements Discussed:

• Rasa (Sentiment):

  • The author posits that the primary sentiment in these hymns is Shanta Rasa (tranquil sentiment), which arises from profound devotion.
  • While acknowledging debates about the existence of Shanta Rasa, the author demonstrates its presence in the hymns, citing examples like the contemplation of Saraswati's form as an Alambana Vibhava (main object of emotion) and solitude as an Uddipana Vibhava (stimulant of emotion), leading to Anubhava (physical expressions) like horripilation and Vyabhichari Bhava (transitory emotions) like joy.
  • The text also identifies instances of Bhavadhvani (suggestion of emotion), where subtle emotions or knowledge are conveyed through implied meaning.

• Alankara (Ornaments/Figures of Speech):

  • Bhadrakirti Suri's hymns are noted for their rich use of both ShabdAlankara (verbal ornaments) and ArthAlankara (semantic ornaments), as well as UbhayAlankara (combined ornaments).
  • The author emphasizes that for a gifted poet, ornaments naturally adorn their verses as an overflow of their devotion, rather than being consciously imposed.
  • Specific examples of ShabdAlankara are provided, including:
    • Anupras (alliteration) through the repetition of 'r' and 'g' in "Durga-pavarga-sanmarga-swarga-sansarga."
    • Yamak (rhyme) in "tarine-karine."
    • Numerous instances of Shabdanupras are identified in the 'Sharda Stotra' and 'Sadharan Jinastavan' through the repetition of consonants like 'n', 'v', 's', 'm', and 'l'.
  • Examples of ArthAlankara include:
    • Rupaka (metaphor) in phrases like "vaktramruganka," "tadvaktra-ranga-gane," "hrutpundarike," "gourisudhataranga-dhavala," etc.
    • Other figures like Utpreksha (hyperbole), Drishtanta (example), Arthantaranyasa (generalization/specification), Vyatireka (contrast), and Upama (simile) are also found to be effectively employed.
    • The hymns also showcase Vibhasha (a type of figurative speech where a cause is absent but an effect is shown) and Visheshokti (where an effect is absent despite the presence of a cause), sometimes appearing in conjunction (Sankar).

• Guna (Qualities):

  • The study primarily discusses the three main qualities of poetry: Madhurya (sweetness), Ojas (vigor), and Prasad (clarity).
  • Madhurya is found to be prevalent, characterized by the absence of harsh consonant clusters (like 'tth', 'ddh') and the presence of soft sounds, particularly in the 'Sadharan Jinastavan' and 'Sharda Stotra'. This quality is seen as complementary to the dominant Shanta Rasa.

Bhadrakirti Suri's Poetic Artistry:

• The author defines poetry according to Mammata as words and their meanings that are free from defects, possess qualities, and are adorned. However, Mammata also allows for poetry even without prominent ornaments.
• Bhadrakirti Suri's works are described as fulfilling these criteria, being rich in qualities and imbued with Shanta Rasa.
• Panditaraja Jagannatha's definition of poetry as a sentence that evokes extraordinary delight is also found to be upheld by Bhadrakirti Suri's "Saraswatikalpa," which naturally evokes devotional feelings in the reader.
• The text highlights Bhadrakirti Suri's mastery of Yogic knowledge, evident in "Saraswatikalpa," which is praised for its lucidity, melodiousness, charm, adherence to metrical rules, and emotional depth.
• The judicious use of prasingochit shabda (contextually appropriate words) is noted as a special characteristic of his poetry.
• The inclusion of mantras and their usage in "Siddhasaraswati Kalpa" and "Sharda Stotra" suggests Bhadrakirti Suri's expertise as a mantrik (one skilled in mystical formulas). He is identified as a monk belonging to the Chaityavasi tradition.

Specific Hymns and their Content:

The text includes excerpts and explanations of various hymns:

• Shri Saraswatikalpa: Describes Saraswati's divine form, her connection to cosmic concepts, and the meditative practices associated with her, including the creation of a Yantra and the recitation of a mantra for wisdom. The verses praise her power to inspire poetry and bestow profound knowledge.
• Sharda Stotra (Siddhasaraswata Stava): This hymn extols Saraswati as the goddess of speech, describing her vehicle (the swan), her divine attributes, her role in bestowing wisdom and prosperity, and the benefits of reciting her mantra. It also contains a potent mantra for gaining intellectual prowess.
• Sadharan Jinastavan: This hymn addresses a Jinendra (Tirthankara), highlighting his gentle demeanor, compassionate nature, and the profound peace derived from his teachings. It questions why some individuals remain indifferent or even hostile to such a benevolent figure. The verses emphasize the spiritual merit of contemplating the Jinendra's form and words.
• Shri Neminijin Stuti: This hymn venerates Neminatha, the 22nd Tirthankara, focusing on his renunciation of worldly pleasures and his pursuit of liberation. It praises his compassionate nature, his dark, radiant complexion, and his role as a guide on the path to salvation.
• Shri Jinastuti (from Prabandh Chatushthaya): This hymn, presented as the author's humble attempt to praise the infinite virtues of a Jin, expresses humility in the face of the Tirthankara's greatness. It acknowledges the Tirthankara's power to destroy delusion and doubt, to ferry beings across the ocean of existence, and to guide them to liberation and heavenly realms. It also emphasizes the profound impact of even a single salutation to the Tirthankara.

In conclusion, the study by Mrugendranath Jha provides a detailed scholarly examination of Bhadrakirti Suri's devotional poetry. It highlights his profound understanding of poetic principles and his skillful use of language, sentiment, and literary devices to convey deep spiritual devotion and the teachings of Jainism. The analysis underscores the intrinsic value and artistic merit of these hymns, positioning Bhadrakirti Suri as a significant devotional poet within the Shvetambara Jain tradition.