Gujarati Sahitya Ma Jain Bhakti Kavyo

Here is a comprehensive summary in English of the provided Jain text "Gujarati Sahitya ma Jain Bhakti Kavyo" by Pannalal R. Shah:

The book "Gujarati Sahitya ma Jain Bhakti Kavyo" (Jain Devotional Poems in Gujarati Literature) by Pannalal R. Shah, explores the rich tradition of Jain devotional poetry in the Gujarati language. The author begins by establishing the fundamental nature of poetry, dividing it into two main categories: emotion-centric and intellect-centric. He posits that while philosophical subjects are typically contemplation-centric, ancient Jain poets, recognizing the need for wider appeal, often conveyed profound philosophical truths through emotion-centric devotional poems. The success of a poet, Shah argues, lies not just in expressing personal experience but in evoking a similar experience in the reader, fostering empathy.

The text identifies universal themes in poetry, such as God and love for the entire creation, noting that despite the prevalence of these themes, each poet brings a unique perspective. The influence of Sufi traditions, where God is sometimes conceptualized as a beloved, is also acknowledged, paralleling figures like Meera Bai and Narsinh Mehta in the broader Indian devotional landscape.

A key distinction is drawn between Jain devotional poetry and that of other philosophies, stemming from Jainism's unique perspective on God. Jain philosophy views God as transcending worldly matters, free from attachments and aversions, and beyond the concepts of merit or demerit. Jain Tirthankaras are seen as emanations of complete divinity from ordinary humans, rather than creators of the universe as in some other traditions. Consequently, Jain devotional poetry does not focus on divine plays in the same way as, for instance, Vaishnavism or Sufism, where devotion can be intertwined with the sentiment of love.

The author then delves into specific examples of Jain devotional poets and their works. Anandghanji is presented as a prominent figure whose poems, like " Pritam mero, aur na chahu re Kant," are compared to Meera Bai's "Mere to Girdhar Gopal." A notable characteristic of Jain devotional poetry is the use of familial and beloved terms for God, which, according to Shah, is not merely metaphorical but deeply rooted in the poet's experience.

Chidanandji is highlighted for his use of worldly relationships in his poems to describe the soul's journey. He portrays "Kumati" (wrong intellect) as a rival to "Sumati" (right intellect), with Sumati pleading with the soul (the husband) to return to his true home, away from the enticement of Kumati. The poems illustrate the soul's occasional succumbing to Kumati, the subsequent regret, and the ultimate return and joy of reunion with Sumati.

Shri Devchandji's "Chovisi" is presented as an example of the pain of separation from the divine, expressing the inability to communicate with God once He has attained liberation. The poems depict the longing for connection and the frustration of unfulfilled attempts to convey messages.

The text contrasts this with the feeling of connection experienced by those who have achieved spiritual realization. Shri Mohanvijayji, Anandghanji, Viravijayji, and Mahopadhyaya Yashovijayji are cited for their expressions of joy and relief upon experiencing divine presence, often comparing it to immense satisfaction after hardship or hunger. This is further paralleled with Meera Bai's sentiment of finding immense wealth in Lord Rama.

The author emphasizes that the experiences described in Jain poetry are not mere fictional narratives but represent genuine human emotions and spiritual truths applicable to everyone's life. The poems also explore the consequences of neglecting spiritual calls, leading to regret and the realization of lost opportunities.

A poignant aspect discussed is the soul's struggle when caught between the allure of worldly desires (Kumati) and the yearning for the divine (Sumati), leaving the soul in a state of predicament, a situation also expressed by Anandghanji. The difficulty in controlling the mind, described as a mischievous entity, is a recurring theme.

The text also touches upon social critique within Jain poetry, noting that while not as sharp as that of Akho, poets like Anandghanji offered gentle critiques of societal issues, religious hypocrisy, and the superficiality of external rituals. The social context of the time, marked by religious dogma and the decay of genuine devotion, is seen as a possible catalyst for the outpouring of devotional sentiment.

A significant aspect of Jain devotional poetry highlighted is the subtle introspection and occasional gentle admonishment directed towards the divine. While other poets praise the divine, Jain poets, despite deep devotion, sometimes question the divine's inactions or express a sense of inadequacy in their own devotion. Poets like Mohanvijayji, Yashovijayji, and Chidanandji are noted for this "sweet admonishment," while Devchandji and Kumarpal exemplify self-reproach.

The author laments that Jain devotional poems, often composed in ancient meters, are not as widely popular as modern forms but emphasizes their melodious nature and the potential for revival. He calls for musicians to popularize these melodies and for the youth to recognize the value of this rich heritage.

The poems are presented as expressions of the soul's deep connection with the divine, sometimes manifesting as pleas for attention or mild complaints when the divine seems distant. The concept of the soul's longing for the divine, even when it seems to stray, is explored.

The text also delves into the concept of "atmanindha" (self-condemnation), particularly as seen in works like the "Ratnakar Pacchishi." These poems confess the soul's failings, such as succumbing to anger, greed, and pride, using powerful metaphors. The author explains the necessity of such confession for emotional release and to express the depth of love for the divine, akin to a lover sharing everything with their beloved.

The importance of humility, inquiry, and service is drawn from the Bhagavad Gita and applied to the Jain context, highlighting the need to shed pride and ego. The disparity between words and actions, a common human failing, is also discussed, citing Chidanandji and Akho.

The author concludes by acknowledging the vastness of Jain literature in Gujarati, noting that the current analysis is limited to a few prominent poets. He expresses hope that scholars and researchers will bring more of this unknown or previously confined literature to wider public awareness. The essence of Jain poetry is seen as a deep exploration of the soul's journey, marked by profound emotions, intellectual inquiry, and a unique blend of devotion and introspection.