Jain Bhakti Sahitya - Book Summary

Here is a comprehensive summary of the provided Jain text "Jain Bhakti Sahitya" by Prof. Mahendra Raijada:

The text, "Jain Bhakti Sahitya," by Prof. Mahendra Raijada, explores the rich and diverse tradition of devotional literature within Jainism. It highlights that like other Indian religions such as Vedic, Vaishnav, Shaakt, Buddhist, and Sikh, Jainism also emphasizes devotion as a crucial aspect of spiritual life.

Key Themes and Concepts:

Universality of Devotion: The author asserts that devotion is a fundamental element in virtually all religions. Even Shankara, a proponent of knowledge-based salvation, acknowledged the supremacy of devotion. Similarly, Jainism, while rooted in knowledge and self-reliance, also recognizes and incorporates the importance of devotion. Devotion, in the Jain context, is the act of dedicating one's devotion to the soul (Atmatattva), seen as the divine within.
Influence and Cross-Pollination: The text points out that Indian religious traditions have historically engaged in a process of exchange and assimilation, leading to a rich and tolerant cultural life. It suggests that the devotional currents within Jainism may have influenced other traditions, including aspects of Kabir's philosophy, particularly his concept of "Nirguna" having "Guna" and vice versa, which is echoed in the Jain concept of "Nishkal" (unmanifest) in the 7th century.
Ankekanata (Multi-faceted Reality) in Devotion: Jain devotional poets often exhibit the principle of Ankekanata, perceiving the divine in multiple, seemingly contradictory forms (one and many, manifest and unmanifest, opposing and non-opposing). This is exemplified by verses describing Brahman as both present in everything and encompassing everything. Anandghan's analogy of a jewel (Kunḍal) being both a distinct form and essentially gold illustrates this concept.
The Role of Tirthankaras: Tirthankaras, the enlightened beings of Jainism, are central figures in Jain devotional literature. Their lives, from birth and education to spiritual attainment and liberation (Nirvana), are celebrated. The concept of a Tirthankara being both "Sakal" (manifest, embodied) and "Nishkal" (unmanifest, liberated) is discussed, emphasizing that these states are not mutually exclusive but rather stages of spiritual evolution.
Literary Forms and Traditions:
- Early Forms: Jain devotional literature originated in Sanskrit, Prakrit, and Apabhramsha in the form of praise hymns and stotras, dating back to the 1st century Vikram era.
- Medieval Period: This tradition continued and evolved, significantly contributing to Hindi pad-kavya (devotional poetry).
- Narrative and Didactic Poetry: Jain poets also composed prabandh-kavyas (epic poems) and khanda-kavyas (short epic poems). The text mentions the "Paumachariyam" by Vimalasuri (1st century Vikram) as a significant early work, notable for humanizing the characters of the Ramayana. Later works like Raviṣeṇa's "Padmapurāṇa," Ramachandra's "Sitācharit," Bhagavatidas's "Brihatsitāsūtu," Brahmjayāsāgar's "Sītāharan," and Mahichand's "Lavkushachhappay" are also highlighted.
- Specific Genres: The text details various forms like "Shatak" (hundred verses), "Bāvanī" (fifty-two verses), "Battīsī" (thirty-two verses), and "Chhattīsī" (thirty-six verses). It specifically mentions "Adhyātma Bārahakhadi" by Daulatram as a unique and extensive work. Many "Bāvanī" works by poets like Hemraj, Udāmarājajti, and Manmohanadas are noted for their devotional content.
Key Concepts of "Sakal" and "Nishkal": The distinction between "Sakal" (embodied, like the Arhant with a subtle, perfect body) and "Nishkal" (unembodied, like the Siddha) is crucial. While "Sakal" refers to those who have attained the highest spiritual state with a body, "Nishkal" refers to those who have transcended the physical realm. Both are considered divine, and the path to "Nishkal" often involves experiencing the "Sakal" state first. Jain poets have sung the praises of both.
Dampatya Rati (Conjugal Devotion): A significant aspect of Jain bhakti literature is the metaphor of conjugal love, where the individual soul (Chetan) is the husband and wisdom (Sumati) is the wife. This relationship is depicted with immense dignity and purity, devoid of earthly sensuality, emphasizing spiritual union. Works like "Adhyātma Padapankti" by Banarasidas and "Chunari" by Muni Vinayachand exemplify this.
Mysticism (Rahasyavada): Influenced by Apabhramsha, Jain poets explored mysticism, focusing on emotional experiences and the realization of the divine within. The text notes that this mysticism is free from Tantric practices. Poets like Kundakunda, Rupachand, and Sakalkirti contributed to mystical devotional songs.
The Role of the Satguru: The Satguru holds a paramount position in Jain devotion, often equated with the divine (Arhant and Siddha). Unlike some other traditions where the guru is seen as distinct from or even greater than God, in Jainism, the Satguru is the guide on the path to liberation. Devotion to the guru, characterized by deep affection, is highly valued.
Prayer and Petition (Yachana): Jain devotees often engage in prayers and petitions, believing that they receive strength and inspiration from Jinendra (the Tirthankaras). This is seen as a form of "inspiration-driven duty." The text quotes from Samantabhadra's "Svayambhu Stotra" and Dhyanat Ray's verses to illustrate this devotional pleading.
Servitude (Dasya Bhava): A sense of humble servitude towards Jinendra is prevalent. The devotee sees themselves as a humble servant to a benevolent Lord who elevates them to His own stature. Banarasidas emphasizes the importance of service for the enlightened.
The Greatness of the Adored (Mahatta): Jain poets, like their counterparts in other Indian traditions (e.g., Tulsidas, Surdas), emphasize the supreme greatness of their divine. The devotee considers themselves insignificant in comparison, fostering humility. This humility brings them closer to the divine.
The Significance of Remembering and Meditation: Remembering (smarana) and meditation (dhyana) are considered synonymous in Jainism. Through meditation on Jinendra, immediate spiritual elevation is possible, as stated in the "Kalyāṇmandir Stotra." The longing for the sight of the divine is a constant theme.
Inner Vision of the "Atmaram": A significant theme is the vision of the "Atmaram" (the self as divine) within, leading to supreme bliss and transformation into the "Paramatma" (supreme self). Poets like Anandtilak and Brahmdeep explore this concept.
Surrender (Samarpan): Complete surrender to the divine is a cornerstone of Jain bhakti. This involves dedicating one's intellect, actions, and life to the divine, finding auspiciousness in devotion.
Warning Against Worldly Attachment (Chetavani): Reflecting the renunciatory nature of Jainism, many devotional works include themes of cautioning the mind against worldly illusions and attachments. This is similar to the "Chetawani ko Ang" found in Hindi devotional literature.
Metaphorical Love Songs (Prem Rupak): Jain poets have composed love songs that are allegorical, portraying the soul's longing for the divine through themes of separation and yearning, as seen in the stories of Neminath and Rajimati.
Prabandh Kavyas and Khanda Kavyas: The text highlights the composition of grand epic poems and shorter narrative poems, often focusing on the lives of Tirthankaras and devotees. These works blend mythological and adventurous styles and often conclude with the hero's attainment of omniscience and union with the supreme soul.

In conclusion, "Jain Bhakti Sahitya" by Prof. Mahendra Raijada provides a comprehensive overview of the rich devotional landscape within Jainism, underscoring its philosophical depth, diverse literary expressions, and profound spiritual insights that resonate with the broader Indian tradition of Bhakti.