Hindi Jain Bhakti Kavya Aur Kavi

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Book Title: Hindi Jain Bhakti Kavya aur Kavi (Hindi Jain Devotional Poetry and Poets) Author(s): Dr. Premsagar Jain Foreword: Acharya Kaka Kalelkar Publisher: Bharatiya Jnanpith Year of Publication: 1964

Overall Theme: This book, published by Bharatiya Jnanpith, delves into the rich and diverse tradition of Jain devotional poetry (Bhakti Kavya) in Hindi. It explores the philosophical underpinnings, various forms, prominent poets, and the evolution of this literary genre within Jainism. The foreword by Kaka Kalelkar emphasizes the importance of studying the devotional and artistic expressions of various religious sects, not just their philosophical texts, to understand their contribution to Indian culture. He highlights that devotional poetry reveals the spiritual and emotional journey of the poets and the impact of their faith on life.

Key Concepts and Content:

1. Bhakti as a Universal Force: Kaka Kalelkar argues that devotion (Bhakti) is a potent and unifying force that transcends sectarian boundaries. He cites examples from various traditions, including Advaita Vedanta and Jainism, showing how even paths emphasizing knowledge (Jnana) eventually embraced devotion. He equates the flow of rivers into the ocean with the merging of various spiritual currents into the grand pursuit of life's ultimate truth. Poetry, he posits, is the most powerful expression of this devotional life.

2. Jain Devotional Poetry as Life's Reflection: Dr. Premsagar Jain's work is presented as a deep dive into the "ocean of Jain Bhakti Kavya." It aims to introduce readers to numerous Jain poets and poetesses, examining their works from both the perspective of emotion (Bhava) and art (Kala). The book establishes that devotional poetry within Jainism is not merely a ritualistic expression but a profound reflection of life and spiritual realization.

3. Theological and Philosophical Underpinnings:

   • 'Nishkal' and 'Sakal' Brahman: The text begins by exploring the Jain concepts of 'Nishkal' (formless, detached, like the Siddhas) and 'Sakal' (with form, like the Arhats who are still in the world). It argues that these concepts are not entirely separate but interconnected, with every Nishkal being a Sakal first. The book highlights that Jain devotional poetry harmoniously integrates both aspects, celebrating both the ultimate, formless spiritual state and the embodied, compassionate Arhats.
   • Vitaraga and Divine Love: Jain philosophy emphasizes freedom from passions (Vitaraga). However, the devotion shown towards these Vitaragas is characterized as a pure, unadulterated love ('Raga'). This love, directed towards the Arhats and Acharyas, is considered liberating, not binding.
   • Anantkanta (Anekantavada) in Devotion: The text draws parallels between Kabeer's philosophy of 'Nirgun mein Gun' (having qualities within the formless) and the Jain concept of 'Anekantavada' (non-absolutism). Jain devotional poetry expresses the multifaceted nature of the divine, encompassing both the absolute and the relational, the formless and the form, the dual and the non-dual.

4. Forms and Expressions of Jain Bhakti:

   • Nirguna Kavya: The book traces the roots of 'Nirguna Kavya' (formless devotion) back to Jain Apabhramsa and earlier Prakrit texts. It highlights how Jain philosophical ideas, particularly the concept of 'Nishkal' Brahman, influenced the 'Nirguna' tradition found in later Sant poetry, such as that of Kabeer.
   • Sarguna Kavya: The influence of Jain Tirthankara devotion is seen in the 'Sarguna Kavya' (devotion to the embodied divine) of medieval Hindi literature. The lives of Tirthankaras, their birth, education, and spiritual journeys are depicted.
   • Pad Kavya: The text discusses the significant contribution of Jain poets to the Hindi 'Pad Kavya' (song-like devotional poems), often set to various musical ragas.
   • Prabandh Kavya: The devotional aspects of Jain 'Prabandh Kavya' (narrative poetry) are analyzed, including the humanization of characters from the Ramayana in Jain traditions, notably in Vimal Suri's Paumchariya and Raviṣeṇa's Padmacaritra.
   • Veli Kavya: A unique form of 'Veli Kavya' is identified as a Jain contribution, characterized by small, focused narratives blending story and devotion.
   • Mysticism (Rahasyavad): The influence of Jain Apabhramsa mystical poetry on medieval Hindi Jain poets is noted, emphasizing their liberation from Tantric elements and their focus on emotional and experiential devotion.
   • Guru Bhakti: The supreme importance of the Satguru in Jain tradition is discussed, where the Guru is often equated with the divine itself, guiding the soul towards liberation.
   • Divine Inspiration: The concept of devotion as a source of strength and inspiration, leading to self-attainment, is explored.
   • Panchakalyanak Stutis: The celebratory poems dedicated to the five auspicious events in a Tirthankara's life are highlighted as a unique Jain contribution to devotional poetry.
   • Dasya Bhava (Servitude): The text analyzes the concept of servitude as a pure, selfless offering to the divine, where the devotee finds fulfillment in service.
   • Aaradhya ki Mahatta (Glory of the Worshipped): The poets express the glory of the worshipped deity, often comparing them favorably to other deities, emphasizing anaratabhava (unwavering devotion) without denigrating others.
   • Kirtan and Smaran (Chanting and Remembrance): The tradition of remembering and chanting the divine name is discussed, noting its ease and efficacy.
   • Darshan ki Mahima (Glory of Vision): The intense longing for the vision of the divine and the spiritual transformation that occurs through darshan is explored.
   • Significance of Limbs through Devotion: The text discusses how devotion imbues every aspect of life with spiritual significance.
   • Exhortations to the Mind: Similar to Sant poetry, Jain poets also addressed the mind, urging it to detach from worldly illusions and focus on devotion.
   • Bhavapaksha (Emotional Aspect): The core emotional experiences in Jain devotional poetry are analyzed, including Sakhyabhava (friendship), Vatsalyabhava (parental love), Premabhava (love), Vinayabhava (humility), and Shantabhava (peacefulness).
   • Kalapaksha (Artistic Aspect): The artistic elements of language, meter, figures of speech (Alankara), and nature depiction are examined.

5. Prominent Poets and Their Works: The book extensively catalogs and discusses numerous Jain poets from various periods, analyzing their lives, literary contributions, and the themes in their works. Notable poets mentioned include:

   • Rajshekhar Suri: Known for Nemnath Fagu.
   • Sadharu: Author of Pradyumna Charitra.
   • Vinayprabh Upadhyay: Known for Gautam Rasa and Simandhar Swami Stavan.
   • Merunandan Upadhyay: Author of Jınodaya Suri Vivahalau, Ajitshanti Stavan, and Simandhar Jin Stavan.
   • Kushallabh: Known for Shri Pujyavahan Git, Sthoolibhadra Chattisi, etc.
   • Banarasidas: A highly influential poet, author of Ardha Kathānak, Natak Samaysar, Banarasi Vilas, etc., known for his philosophical depth and natural language.
   • Dhyanataray: Celebrated for his accessible Hindi pujas and devotional songs.
   • Bhuvandas: Author of Pashvanath Purana and Jain Shatak.
   • Anandghan: A prominent mystical poet whose works are deeply spiritual.
   • Various others: The book lists and briefly describes the works of numerous other poets like Harikirti, Kankakirti, Nandlal, Vishwabhushan, Babulal, Acharya Kishansingh, Khushhalkchand Kala, Dhudharas, Nihalchand, Bhawandas, Ajayraj Patni, Meghraj, Sahajkirti, Brahm Gulal, Udayraj Jati, Hiranand Mukim, Hemvijay, Bhedevdas, Naramal, Manohar Das P., Manaram, Babulal, Acharya Kishansingh, Khushhalkchand Kala, Dhudharas, Nihalchand, Bhawandas, Ajayraj Patni, Meghraj, Sahajkirti, Brahm Gulal, Udayraj Jati, Hiranand Mukim, Hemvijay, Nandlal, Kavi Sundardas, Pt. Bhagwathdas, Pt. Rupchamd, Harshkirti, Kanak Kirti, Kavi Banarasidas, Manaram, Kunvarpal, Yashovijayji Upadhyay, Mahatma Anandghan, Jagjivan, Pt. Hemraj, Lalchand Labhoday, Pt. Hiranand, Rayachand, Jinhara, Achal Kirti, Ramchandra, Jodharaj Godhika, Jagatram, Vishvabhushan, Jin Rang Suri, Bhai Bhagwathdas, Shiromani Das, Dhayantray, Vidyasagar, Bulakidas, Vinay Vijay, Devabrahma, Surendrakirti Muniudhra, Khetal, Bhau, Lakshmivallabh, Vinodilal, Bihari Das, Kishansingh, Khushhalkchand Kala, Bhudhar Das, Nihalchand, Pt. Daulatramji, Bhawandas, Ajayraj Patani.

6. Comparative Analysis: The book engages in comparative analysis, particularly contrasting Jain devotion with Nirguna upasana (like Kabeer) and Vaishnava devotional traditions. It highlights the distinct features of Jain devotion, such as its emphasis on self-effort, the concept of Arhats as both 'Sakal' and 'Nishkal' manifestations, and the absence of the intense emotionalism and physical descriptions sometimes found in other Bhakti traditions.

7. Historical Context: The work places Jain devotional poetry within its historical context, discussing the periods and influences that shaped its development, including the impact of earlier Apabhramsa and Sanskrit literature, as well as interactions with contemporary Sant and Vaishnava traditions. The socio-political climate, including the patronage of rulers like Akbar and Shah Jahan, is also touched upon, showcasing the interplay between religion, art, and power.

Overall Significance: "Hindi Jain Bhakti Kavya aur Kavi" is a scholarly and comprehensive study that meticulously documents the devotional poetic tradition within Jainism in Hindi. It serves as a valuable resource for understanding Jain religious philosophy, artistic expression, and its contribution to the broader landscape of Indian devotional literature. The foreword by Kaka Kalelkar adds an important layer of appreciation for the multifaceted nature of religious and cultural heritage. The book aims to make readers aware of the depth and breadth of Jain devotional poetry, which often remains less explored compared to other major Indian Bhakti traditions.