Jain Dharmik Sahitya Me Upman Aur Upamey - Book Summary

Here's a comprehensive summary of the Jain text "Jain Dharmik Sahitya me Upman aur Upamey" by Dr. Amitabhkumar, focusing on the use of similes and metaphors in Jain religious literature:

The article, "Upman aur Upamey in Jain Religious Literature," by Dr. Amitabhkumar, explores the ancient and prevalent practice in literature of making profound, deep, or spiritual truths comprehensible through examples from the material world. This process, known as upama (simile) or upaman (metaphor), not only reveals the author's deep experience, testing, and contemplation but also adds charm and elegance to the literature, serving as literary embellishment. While this practice is well-studied in secular literature, Dr. Amitabhkumar argues that it is equally vital and prevalent in religious scriptures for explaining spiritual principles and doctrines in an engaging manner.

Key Concepts:

Upameya (The Thing Being Described): This refers to the deep, abstract, or spiritual concept or principle being explained.
Upaman (The Simile/Metaphor): This is the example or comparison used to make the upameya understandable.

The Chosen Text: Asht Pahuḍ

The author specifically focuses on Asht Pahuḍ (Eight Pāhuḍ), a significant ancient Jain text attributed to Acharya Kundakund (written around the first century CE). He deliberately chose this text over "Samaysar" (also by Kundakund) due to recent controversial interpretations of "Samaysar" that have led to societal disarray. Asht Pahuḍ, on the other hand, is a comprehensive work covering various aspects of spirituality and its similes/metaphors encompass a wide range of religious and spiritual beliefs. Originally consisting of six Prābhṛt (chapters/sections), two more were later discovered, making it "Asht Pahuḍ." The commentary by Shrutasagar Suri from the 16th century, which covers most upameyas and upamanas, serves as the basis for this article.

Analysis of Similes and Metaphors:

The article highlights the extensive use of similes and metaphors in Asht Pahuḍ to elucidate Jain doctrines.

Variety of Upameyas:
- Over four dozen upameyas are used to describe religious truths, including concepts like Dharma (duty/religion), Karma, Samyaktva (right faith), Jnana (knowledge), the soul, the Jiva (living being), Moksha (liberation), attachment (Raga), asceticism (Tapas), worldly pleasures (Vishaya), and sin (Papa).
- Important upameyas like Karma, Samyaktva, Jnana, Samsara (cycle of birth and death), the body, Vishaya, Raga, Muni (monk), and Tapas are described using multiple upamanas.
- Conversely, a single upamana can be used for multiple upameyas. For instance, the soul and Karma are both compared to a king. Similarly, Dharma, Moha (delusion), Samsara, rebirth, and Ratnatraya (the three jewels) are likened to a tree.
- The author notes that while multiple similes enhance understanding, they can also lead to confusion if the specific quality of the simile isn't carefully considered in relation to the upameya.
Variety of Upamanas:
- More than five dozen upamanas are employed to explain religious principles.
- These are broadly classified into five categories:
  - Natural Objects and Events: Water, trees, oceans, storms, etc.
  - Common Objects: Pots, huts, lamps, tools, etc.
  - Metals and Elements: Gold, iron, etc.
  - Emotional Experiences: Love, attachment, etc.
  - Celestial Bodies and Concepts: Sun, moon, etc.
- The diversity of these upamanas suggests that Jain Acharyas were keen observers of nature, possessing a deep understanding of the specific qualities of natural phenomena and objects. They were adept at making complex spiritual concepts easily understandable through psychological associations.
Specific Examples and Interpretations:
- Samsara (Cycle of Birth and Death):
  - Upamanas for Liberation (Adrishya Lok): These include "Lakshmi" (wealth), "Priya" (beloved), and "Rajmahal" (palace). These are attractive in the worldly context, signifying the desire for fulfillment and prosperity. However, the author stresses that the enduring nature of liberation, rather than its temporary worldly attractions, should be the focus.
  - Upamanas for Samsara (The Worldly Cycle):
    - Samtap (Heat/Suffering): This directly conveys the unpleasantness and pain of worldly existence.
    - Samudra (Ocean): It represents the vastness, depth, and difficulty of crossing the cycle of birth and death, which only omniscient beings can achieve. The unlikable aspects of the ocean (depth, difficulty of crossing) are emphasized, not the potential for treasures within.
    - Bhanvar/Tufan (Whirlpools/Storms): These symbolize the extreme suffering and complexity within Samsara.
    - Van, Vriksha, Lata, Ankura (Forest, Tree, Creeper, Sprout): While nature's beauty is acknowledged, the dangerous aspects of forests – wild animals, thorny plants, lack of clear paths, getting lost – are used to represent the treacherous and confusing nature of Samsara. The constant presence of "Karma" as enemies within this forest requires spiritual "weapons" like knowledge, meditation, and character.
    - Vriksha (Tree): The deep, unseen roots symbolize the strong attractive force of Samsara, while the trunk signifies its stability. The shade of the tree, offering temporary peace, is highlighted as an attraction that draws one in, similar to the superficial peace offered by Samsara compared to the true peace of liberation.
    - Ankur, Lata (Sprout, Creeper): These represent the sweetness of life but are linked to Karma (sprout) and Moha (delusion) (creeper) as the causes of continued existence in Samsara. The difficulty of eradicating them and the limited success of individuals in doing so are acknowledged.
- Body (Shareer):
  - The body is often described with repulsive language, filled with impure substances, and likened to a pot, hut, or shack. This is to instill a sense of detachment and aversion necessary for spiritual progress. It's associated with violence in its origin, diseases, and the constant threat of death.
  - However, the author points out the paradox: the body is also considered an instrument for spiritual practice. He suggests that the extreme negativity might be an overstatement, potentially leading to a negative outlook on life and hindering societal progress. If the body were described in terms of its potential for personal and societal advancement, it might lead to a more positive and ethical society. The author proposes a more balanced view, seeing the body as a helpful instrument for development, much like the supportive nature of pots or huts, with nature itself managing its impurities.
- Tapas (Asceticism):
  - Tapas is described as a purifying fire, cleansing both the external and internal being. External practices like fasting maintain physical health, while internal practices like repentance foster virtuous qualities.
  - Upamanas for Tapas include:
    - Ratna (Jewel): Reflecting its preciousness and the joy it brings.
    - Supa and Dhaukni (Sieve and Bellows): These highlight its function in removing impurities (chaff from grain, dross from iron) and purifying intentions, directing one towards auspicious actions.
  - The author contrasts the positive and purifying nature of Tapas with the negative connotations of the similes for Samsara and the body, questioning the existence of Tapas without the existence of Samsara and the body.

Critique and Conclusion:

The author critically examines similes that are considered derogatory or unhelpful in contemporary society, such as calling women a "serpent," passion and affection "demons," youth a "deep lake," householders a "red-hot iron ball," and the un-liberated an "owl." He argues that such comparisons foster a disregard for the upameyas themselves and are not conducive to societal development.
Conversely, he praises similes that are considered apt and beneficial, like comparing Dharma to a creeper, Samyaktva to a jewel, detachment to wealth, Ratnatraya to a Bodhi tree, and knowledge to the sun.
However, he observes a common societal tendency to worship the similes (the attractive external examples) rather than the upameyas (the actual spiritual truths they represent). This leads to a neglect of life-enhancing values and a fixation on imagined desires.
The article concludes by urging religious leaders and philosophers of the 21st century to guide society through this dilemma of being influenced more by the upamanas than the upameyas, emphasizing the importance of understanding the deeper meaning behind these literary devices for true spiritual and societal advancement.