Bhaktamar Stotra Ketlak Prashno

Here's a comprehensive summary of the Jain text "Bhaktamar Stotra – Ketlak Prashno" by Ramanlal C. Shah, based on the provided pages:

This text delves into the popular and revered Jain devotional hymn, the "Bhaktamar Stotra," addressing common questions and providing insights into its significance, authorship, and practice.

The Esteemed Bhaktamar Stotra:

• The Bhaktamar Stotra holds an unparalleled position among Sanskrit hymns dedicated to the Jineshwara Bhagwan (Tirthankaras). It is accepted by all four sects of Jainism and praised by both Jain and non-Jain scholars and acharyas.
• It has inspired numerous commentaries, elaborations, and translations, and its recitation and worship are considered miraculous.
• Composed by the great poet Shri Mantungasuri in the Vasantatilaka meter, his name is indicated in the final verse.
• The stotra's efficacy in removing eight types of fears, bestowing wealth and fame, and breaking fetters is described in its concluding verses. This has led to a popular belief that Mantungasuri composed each verse while miraculously freeing himself from his chains before King Harsha.

Authorship and Historical Context:

• Information about Shri Mantungasuri is limited and sometimes ambiguous due to multiple individuals bearing the same name.
• However, references by earlier scholars like Hemchandracharya, Hiravijayasuri, Jinaprabhasuri, Upadhyay Yashovijayji, and Munisundarsuri, along with accounts in "Prabhavaka Charitra," suggest Mantungasuri lived between the 3rd and 7th centuries CE.
• He was born a Brahmin in Varanasi, was well-versed in Vedic and other scriptures, and is also credited with composing the "Bhayahara Stotra" and "Bhakti Bhamar Stotra." Many scholars accept his existence in the 7th century CE during the time of King Harshadeva.

Literary and Devotional Merit:

• The Bhaktamar Stotra is deeply heart-touching as a hymn of devotion due to the author's humility, simplicity, and fervent emotion.
• As a poem, it is extraordinary for its melodious wordplay, apt vocabulary, use of similes and metaphors, novel imagination, and vivid descriptions.
• Reciting or singing the stotra in a peaceful, conducive, and inspiring environment, with a clear understanding of Sanskrit and a heart full of devotion, brings immense joy and purifies the mind of negative emotions.
• Its enduring popularity for over 1300 years, recited daily by countless people, is a testament to its strength as both a poem and a devotional hymn.

Key Questions Addressed:

1. Number of Verses (Shloka Sankhya):

   • This is a recurring question. The Digambara tradition considers the stotra to have 48 verses, while the Svetambara tradition (with few exceptions) believes it to have 44 verses. The wording of the 44 verses is consistent.
   • Svetambara reasoning: They equate the 44 verses with the 44 Tirthankaras (24 in the current era and 20 in Mahavideh Kshetra). The stotra begins with Rishabhdev, the first Tirthankara, and can be recited for any Tirthankara. The 44-verse count is deemed appropriate given the 44 Tirthankaras currently venerated.
   • Digambara reasoning: The stotra is considered miraculous and associated with Siddhis and Riddhis (spiritual powers). The number 48 is linked to the count of these powers.
   • Historical Evidence: The oldest available manuscripts consistently show 44 verses. Manuscripts with 48 verses, and commentaries and diagrams (yantras) supporting this count, are not older than 200-300 years.
   • Ancient scholars like Hemchandracharya and others do not mention 48 verses.
   • The four additional verses found in some 48-verse versions exist in three different variations. The addition of these verses is considered a recent phenomenon, not predating the last two or three centuries.
   • The existence of similar 44-verse compositions in honor of other Tirthankaras (Shanti-Bhaktamar, Parshva-Bhaktamar, etc.) further supports the 44-verse count.
   • Pratiharyas (Eight Auspicious Signs): The Digambara view is that the stotra should have eight verses describing the eight Pratiharyas, hence the 48 verses. However, the Svetambara argument is that the poet did not intend to describe all eight sequentially. The 44-verse version describes four Pratiharyas (Ashok tree, throne, chowries, umbrella) interspersed with other descriptions. If all eight were intended, they would be in order. Furthermore, the stotra describes only five out of nineteen types of divine embellishments (four Pratiharyas and golden lotuses), suggesting the poet chose representative examples rather than an exhaustive list.
   • Conclusion on Verse Count: While a disagreement exists, reciting 48 verses instead of 44 is unlikely to cause harm. The focus should be on devotional recitation rather than rigid adherence to a specific count.

2. Difficulty of Recitation and the Value of Translation:

   • The Bhaktamar Stotra is indeed challenging due to unfamiliar words, conjunct consonants, and complex sandhis (word combinations), making it difficult to memorize. The meaning can also be elusive.
   • However, for those with genuine reverence and interest, it becomes easy. Many unlettered individuals have memorized it.
   • Tips for Memorization: Start with half a verse, repeat it many times until it becomes ingrained, then proceed to the rest of the verse and subsequent verses. Personal methods and, more importantly, genuine interest, deep dedication, and unwavering faith are crucial.
   • Value of Original Sanskrit: Reciting the original Sanskrit is more beneficial than reading a translation. Translations can lose the poetic essence, beauty, and subtle dignity of the original words.
   • Mantraic Quality: The Sanskrit verses of the Bhaktamar are believed to be mantra-infused. The arrangement of letters by Mantungasuri has a dual purpose: glorifying the Tirthankara and functioning as an unconscious mantra recitation. These mantra-alphabets are not present in translations. Therefore, even without understanding the meaning, reciting the original Sanskrit with joy yields benefits.

3. When to Recite the Bhaktamar Stotra:

   • While people recite it at various times, some adhere to the principle of reciting it only during "Swadhyaya" (study/devotional time) and avoiding "Aswadhyaya" (times considered inauspicious for religious practice).
   • Absence of Scriptural Prohibition: However, there is no ancient scriptural mention prohibiting the recitation of Bhaktamar during Aswadhyaya. This is a localized tradition rather than a scriptural rule.
   • Freedom of Recitation: Many Jains recite it at any convenient time. Prominent Acharyas confirm that there should be no time restrictions for singing the praises of God.
   • The word "ajasa" (eternal/without interruption) in the final verse indicates that the stotra can be recited at any time.
   • While recitation during Swadhyaya with purity of body, mind, and environment may yield greater fruits, there's no scriptural prohibition against reciting it during Aswadhyaya. Similarly, recitation during travel or in public is not prohibited, although cleanliness certainly enhances the benefit.
   • Frequency of Recitation: There is no limit to how many times it can be recited. It is considered more beneficial the more it is recited. Daily recitation at least three times (morning, afternoon, evening) is recommended, with instances of miraculous benefits recorded for consistent practice.
   • Key to Practice: The most important aspect is heartfelt emotion, joy, and identification with the form of the Tirthankara. Tears of joy during recitation are a true indicator of its effectiveness.

4. Variant Reading of a Verse:

   • A specific verse is sometimes recited with "choot" (young mango leaves), while others use "amra" (mango).
   • The original word in all ancient manuscripts is "choot."
   • Reason for Variation: The word "choot" in Sanskrit has a positive meaning related to mangoes. However, in the last century or so, it has become associated with an obscene or vulgar meaning in Gujarati, Hindi, and Marathi. To avoid this perceived indecency, some scholars have replaced "choot" with "amra," which is a synonym for mango and fits the meter.
   • Grammatical Incorrectness: This substitution is grammatically incorrect because the word "choot" is part of a compound word ("charuchutakalikanikar") formed correctly with the root "chut." Replacing it disrupts the grammatical structure and meter.
   • The Right Approach: Individuals should adhere to the poet's original word. Changing words due to sensitivity is considered an unauthorized act and reflects a shallow understanding. The poet's choice of words comes from a deep spiritual source. Similar to the Gayatri Mantra's "vyoma," which has acquired a negative connotation but remains unchanged, the original word "choot" should be respected.

Conclusion:

The author concludes by stating that the discussion of these common questions is based on their understanding and that other viewpoints may exist. The ultimate importance lies in devotional practice and faith rather than external debates or disputes.