Charupmandan Parshwanath Stuti

Here's a comprehensive summary of the Jain text "Charupmandan Parshwanath Stuti," based on the provided pages:

The text, titled "Shri Charupmandan Parshwanath Stuti," is a devotional hymn dedicated to Lord Parshwanath, who resides in the village of Charupa, near Patan. The author of this seven-verse stuti is unknown, but the quality of the verses suggests it was composed by a learned and devoted Acharya.

Key Features of the Stuti:

• Use of Yamaka ( यमक ): The primary poetic device employed in this stuti is yamaka, an elaborate Sanskrit figure of speech involving the repetition of letters, syllables, or words with different meanings. The text explains the concept of yamaka as described by the great poet Vagbhata in his work "Vagbhatalankara."
  • Yamaka can involve the repetition of entire feet ( pada ), words, or letters.
  • The repetition can occur in conjunction (with intervening words) or disjunction.
  • It can be found at the beginning, middle, or end of a verse.
  • A "Mahayamaka" ( महायमक ) is a verse where all four feet exhibit yamaka.
• Application of Yamaka in the Stuti: The introduction details how yamaka is specifically used in each verse of this stuti:
  • Verses 1 and 4: The beginning and the fourth foot are in yamaka.
  • Verses 2 and 4: The first and third feet are in yamaka, as are the second and fourth feet.
  • Verse 5: The first and fourth feet use yamaka.
  • Verse 6: This verse is a complete "Mahayamaka," with all four feet featuring yamaka.
• Use of Anupras ( अनुप्रास ): Verse 5 also incorporates anupras, another poetic embellishment involving the repetition of similar-sounding but differently meaningful letters. The text differentiates between:
  • Tatpada Anupras ( तत्पद अनुप्रास ) or Lata Anupras ( लाटानुप्रास ): Repetition of the same letters.
  • Atatpada Anupras ( अतत्पद अनुप्रास ) or Chhekanupras ( छेकानुप्रास ): Repetition of different letters with similar sounds. Verse 5 is noted to have Chhekanupras. Examples are provided:
    • In "Vibhaavarinath Vibhaavasvabhaava," the letter 'भा' is repeated frequently.
    • In "Vaameya me kaamitaka tanu shree," the letters 'मे', 'का', and 'त' are repeated.
• Chitrakavya ( चित्रकाव्य ): Verses employing yamaka, especially Mahayamaka, are classified under Chitrakavya, a genre known for its wordplay and intricate formations. While these verses showcase exceptional word artistry, the meaning can sometimes require effort to discern or might not carry profound depth. They are primarily word-centric.
• Commentary ( Avachuri - अवचूरि ): The text includes a commentary ( avachuri ) for each verse, explaining the meaning and providing word-breakdowns.
  • Square brackets [ ] indicate corrections made by the editor to address scribal errors in the original commentary.
  • Parentheses ( ) contain explanations added by the editor for clarity, particularly for word-splitting and deeper understanding of the meaning.
• Editorial Notes and Interpretations: The editor has provided specific clarifications and suggestions where the original text or commentary might be ambiguous or require interpretation:
  • Verse 3: Clarification is provided for the word "taarakay" ( तारकाय) and its commentary variant "taaran" (तारण) or "taarakaar" (तारकार) to ensure grammatical coherence.
  • Verse 4: A point of discussion arises regarding the epithet "lasamaanand" (लसमाननन्द). The commentary interprets it as "alasah" (अलसः), meaning inactive or lazy, which the editor finds inappropriate for a divine being. The editor suggests an alternative interpretation of "las" (लस) meaning shining, or if "alasah" is to be retained, then "arasah" (अरसः) meaning detached from worldly pleasures or one who has conquered the senses. The editor also notes that in Chitrakavya, 'व' and 'ब' are often considered equivalent, and similarly, 'र' and 'ल' can be interchangeable.
  • Verse 5: The interchangeability of 'व' and 'ब' is further illustrated with the phrases "abaalabhaal" (अबालभाल) and "navaalabhaal" (नवालभाल).

Purpose of Publication:

The editor states that these verses are being published with the hope that readers will engage with them, seeking to cultivate specific virtues through devotion to the Vitaraga (Tirthankara) deities. The text emphasizes that the attainment of special qualities requires effort, and devotion serves as a guiding principle in that endeavor.

The Stuti Verses with Explanations (Page 3 onwards):

The text then presents the seven verses of the stuti, followed by the editor's explanations and numbering of words for clarity. These explanations delve into the specific meanings of words and phrases, often offering multiple interpretations based on Sanskrit grammar and Jain philosophical concepts. The explanations highlight the intricacies of the yamaka and anupras figures of speech, as well as the devotional essence of the hymn.

In essence, "Charupmandan Parshwanath Stuti" is a sophisticated devotional poem that showcases the poet's mastery of Sanskrit poetic devices, particularly yamaka, to praise Lord Parshwanath. The accompanying commentary and editorial notes provide a rich understanding of the verse's literary and spiritual dimensions.