Jain Dharmik Sandarbh Ane Madhyakalin Gujarati Sahitya - Book Summary

Here's a comprehensive summary of the provided Jain text, "Jain Dharmik Sandarbh ane Madhyakalin Gujarati Sahitya" by Kantilal B. Shah, focusing on its key points:

The book "Jain Dharmik Sandarbh ane Madhyakalin Gujarati Sahitya" by Dr. Kantilal B. Shah explores the profound influence of Jain religious context on medieval Gujarati literature.

I. Jain Influence and the Dawn of Gujarati Literature:

Foundation of Jainism and its Texts: The book traces the roots of Jain philosophy to the Agamas, compiled by Indrabhuti Gautama from Lord Mahavira's teachings. These scriptures, including the 11 Angas (with the 12th, Drishtivada, lost), 12 Upangas, 4 Mulsootras, and others, formed the basis of Jain religious discourse. Later, commentaries like Niyukti, Churni, and Bhashya were written on these.
Early Literary Contributions: Jain Acharyas like Umaswati, with his "Tattvarthaadhigama Sutra," and Siddhasena Divakara, who established Jain logic with "Nyayavatara" and "Sammati Prakarana," laid significant groundwork. Acharya Haribhadrasuri (757-827 CE) was a pivotal figure, critically analyzing various philosophies in Sanskrit and Prakrit, authoring 1400 works, including the renowned prose narrative "Samaraichchahakaha" (Samaradityakatha).
The Role of Hemchandracharya: The text highlights Hemchandracharya (1088-1172 CE), the "Kalikal Sarvagnya" (Omniscient of the Kali Yuga), as a major force in the development of Gujarati language and literature. His "Siddha Haima" grammar and "Deshinamala" lexicon were instrumental. His close association with King Kumarpala of Gujarat led to Kumarpala's public adoption of Jainism in 1160 CE, promoting temple construction, renovations, and welfare activities.
Early Gujarati Literature's Jain Identity: The initial phase of Gujarati language and literature was heavily influenced by Jainism. Even during periods of turmoil, like the invasions of Allauddin Khilji, Jain ascetics continued their literary pursuits in their monasteries, significantly benefiting Gujarati literature.
Vastness of Jain Literature: The abundance of Jain literature in medieval Gujarati is notable, with an estimated 75% of the available literature being Jain in origin. Many works are attributed to Jain poets. The earliest available Gujarati work, "Bharteshwar Bahubali Ras" (1185 CE) by Shalishuri, is a Jain creation.

II. Jain Philosophical Themes and Literary Forms:

Core Jain Doctrines in Literature: Medieval Gujarati literature, particularly Jain literature, extensively depicted Jain philosophical concepts such as the nine substances (Jiva, Ajiva, etc.), karma and its cessation, devotion (Bhavana), the five Mahavratas for monks and lay followers, and the six Avashyakas.
Narrative Poetry and Jain Themes: A significant portion of medieval Gujarati literature is characterized by narrative poetry. Jain monks played a crucial role in documenting Jain narratives. These stories span the lives of all 24 Tirthankaras, with particular emphasis on Rishabhadeva and his sons Bharata and Bahubali, Neminatha and Rajimati, Parshvanatha, and Mahavira Swami's 27 rebirths.
Biographies and Exemplary Lives: Beyond Tirthankaras, Jain literature also narrates the lives of eminent disciples like Gautama Swami, prominent lay figures like Abhaykumar and Shrenikumar, philanthropists like Shalasibhadra, ascetics like Sthulibhadra and Jambuswami, and devoted women like Chandanbala and Anjana Sati.
Adaptation of Non-Jain Narratives: Jain monks also utilized non-Jain storylines from epics like the Ramayana and Mahabharata, while developing Jain traditions within these narratives. Examples include the Jain tradition of the Nala-Damyanti story in Ras/Prabandh Charitra forms.
Secular Themes: Jain monks also drew inspiration from secular traditions like the Brihatkatha, composing works like "Vikram Charitra Kumar Ras" and "Madhavaanal Kamakalā Ras." They also produced allegorical poems like "Tribhuvan Deep Prabandh" by Jain monk Pokharsuri, considered the first allegorical tale in medieval Gujarati.

III. Historical Documentation and Jain Literature:

Historical Narratives: Jain poets were instrumental in documenting historical events and biographies. While non-Jain literature rarely focused on historical events (with exceptions like "Kandhde Prabandh"), Jain literature distinguished itself by extensively chronicling history.
Biographies of Royal Patrons and Acharyas: The text mentions biographies of figures like Vimal Mantri (Vimalprabandh), King Kumarpala (Kumarpal Ras), and the ministers Vastupal and Tejpal (Vastupal-Tejpal Ras). It also highlights the biographies of Jain Acharyas like Hiravijayasuri, who influenced Emperor Akbar, and the lives of ascetics like Shubhajay and Pandit Viravijay, and Upadhyay Yashovijayji.
Documentation of Social and Religious Events: Jain literature also records significant socio-religious events like the installation ceremonies of deities, the construction of temples, and large pilgrimages (sanghs). Examples include works describing the "Anjanshalaka" ceremony of Hathisingh, the installations by Seth Motisha, and the pilgrimages led by Seth Premabhai and Harkunvar Shethani.
Richness of Historical Data: These long compositions provide details about the authors, the place and time of creation, descriptions of cities, and information about influential contemporaries, offering immense documentary value.

IV. Religious Purpose and Literary Forms:

Core Message of Jainism: Jain literature primarily serves a religious purpose, emphasizing the Jain tenets of non-violence (Ahimsa), self-control (Sanyam), penance (Tap), detachment (Vairagya), and the ultimate goal of liberation (Moksha) through the destruction of karma.
Themes of Renunciation and Detachment: Consequently, Jain narratives and devotional poetry predominantly focus on themes of renunciation and detachment. Stories like that of Neminatha and Rajimati illustrate how the suffering of animals destined for a wedding feast inspired Neminatha to embrace asceticism. Similarly, Sthulibhadra's story highlights his renunciation of a ministerial position for spiritual life.
Poetic Forms: The book details various poetic forms employed in Jain literature:
- Sajjhay: A short lyrical poem for self-study and spiritual reflection.
- Stavan: Devotional hymns sung in Jain temples, praising Tirthankaras, temple beauty, and the joy they inspire. It also includes hymns dedicated to temples, pilgrimage sites, and festivals.
- Chovishi: A collection of hymns dedicated to the 24 Tirthankaras of the present era.
- Vishi: A collection of hymns dedicated to the 20 Tirthankaras who are currently alive.
- Thoy (Stuti): Short verses sung during rituals like Samayika and Pratikramana.
- Chaityavandan: Short verses sung during deity worship.
- Puja: Ritualistic songs performed during the worship of deities, often involving offerings and sung communally. Pandit Viravijayji's "Puja" is particularly noted.
- Veli: Primarily used for biographical narratives.
- Gahuli: Welcoming verses sung during the arrival of ascetics.
- Balabodh: Prose works aimed at explaining Jain principles to the common populace.
- Ras/Rasa: Originally short rhythmic compositions for group dances in temples, they evolved into longer narrative poems. The "Bharteshwar Bahubali Ras" is the earliest example.
- Phagu: A poetic form also explored by Jain monks.
- Baramasa: A poetic form depicting the twelve months, found in both Jain and non-Jain traditions.
- Rupak (Allegory): The "Tribhuvan Deep Prabandh" is identified as the first allegorical poem.
- Vivahalo: Jain verses with a specific religious context, often depicting the marriage of a spiritual ideal (e.g., 'Jinachandra Vivahalo').
- Chhanda: Numerous short compositions, many of which are Jain in origin, utilizing various meters and styles.

V. Jain Terminology and Language:

Jain Terminology in Daily Life: Jain practices incorporate specific terminology from Prakrit and Ardhamagadhi in their daily religious rituals. Words like "Michchhami Dukkadam" (for forgiveness), "Mattrna Vandaami" (to greet ascetics), "Tathiti" (acceptance of guru's command), and "Nisihī" (abstaining from sinful activities) are used.
Specific Names for Religious Objects: Even common religious items and practices are referred to by specific Jain names, fostering a unique Jain terminology. Examples include Samayika, Pratikramana, Paachchkhana, Kayotsarga, Jayanā, Vaiyavachcha, Parishaha, Upsarga, Navkar, Panch Parmeshthi, Samavasarana, Deshana, Gochari, Chovihar, Atichar, Dharmalabha, Khamana, Vandanā, Muhpatti, Odho, Padavo, Padavashyak, and Samyakta.
Use of Deshi Bandhas: Jain poets extensively utilized popular Deshi Bandhas (regional meters and tunes) in their Rasas and hymns. They often indicated the specific Deshi Bandha used in their compositions, a practice documented in works like "Jain Gurjar Kavi."
Preservation of Language and Literature: The Jain community played a crucial role in preserving medieval Gujarati literature through meticulously maintained knowledge repositories (Jnana Bhandars) and the careful preservation of manuscripts. This meticulous approach allowed for a better understanding of the evolution of the Gujarati language and its literature compared to non-Jain repositories.
Importance of Prose and Manuscripts: Prose works and the vast number of manuscripts available in Jain Bhandars are vital for understanding the vocabulary, sentence structure, and stylistic nuances of medieval Gujarati.

Conclusion:

The book underscores that Jain religious context is intrinsically woven into the fabric of medieval Gujarati literature. Jain acharyas and poets not only contributed a substantial body of religious and philosophical works but also enriched the vernacular language and its literary forms, while also preserving historical narratives and cultural practices. The wealth of manuscripts and the meticulous preservation efforts by the Jain community have made this contribution both profound and accessible for scholarly study.