Jain Hindi Kavya Me Vyahrut Samkhyaparak Kavya Rup

Here is a comprehensive summary in English of the Jain Hindi text "Jain Hindi kavya me Vyahrut Samkhyaparak Kavya Rup" by Dr. Mahendrasagar Prachandiya:

The book "Jain Hindi kavya me Vyahrut Samkhyaparak Kavya Rup" (Numerical Poetic Forms Used in Jain Hindi Poetry) by Dr. Mahendrasagar Prachandiya, explores the significant use of poetic forms based on numerical patterns within the rich tradition of Jain Hindi poetry. The author highlights that, similar to Vedic and Buddhist traditions, Jain culture and literature have deeply influenced public life. Jain scholars and saints have offered profound teachings for global welfare and human well-being, providing solutions to life's deepest problems. This wisdom, derived from self-reflection and scriptural study, has manifested in various poetic forms by Jain Hindi poets.

The study categorizes poetic forms into two main types from the perspective of Indian poetics:

1. Nibaddha Kavya Rup (Bound Poetic Forms): These are structured and regulated forms.
2. Muktaka Kavya Rup (Free Verse Poetic Forms): These are less rigid and often consist of independent stanzas.

The paper focuses specifically on numerical poetic forms, which are characterized by the number of verses or stanzas they contain. The author identifies and discusses sixteen prominent numerical poetic forms prevalent in Jain Hindi poetry from the 15th to the 19th centuries. These are presented in alphabetical order of their Hindi names:

• Ashtapadi (अष्टपदी): Based on the number eight. Used in a free verse style, often as devotional hymns (stavan). Examples are found in the works of Yashovijay Upadhyay, Shri Vidyasagar, and Bhagvatidas from the 18th century.
• Chaturdashi (चतुर्दशी): Characterized by fourteen verses, used to express a complete thought or feeling. The 17th-century poet Banarasidas is noted for his Chaturdashi.
• Chalisā (चालीसा): Consists of forty verses, primarily used for devotional poetry. Hanuman Chalisa is a famous example. Bhavandas of the 18th century wrote a notable spiritual Chalisa.
• Choubisi (चौबीसी): Based on the number twenty-four. These poems typically contain twenty-four verses and are often related to the twenty-four Tirthankaras. Works by Jinh Harsh, Bhaiya Bhagwati Das, and Bulaki Das from the 18th century are mentioned.
• Chhattīsī (छत्तीसी): Originating from the Apabhramsha language, this form uses thirty-six verses. It was used in Jain Hindi poetry from the 17th century onwards. Notable poets include Kushal Labh, Udayraj Jati, Jinh Harsh, and Bhavandas.
• Pachīsī (पच्चीसी): Also known as Pachisika, this form contains twenty-five verses, though poets sometimes added a few more. It covers religious, philosophical, and didactic themes. Banarasidas (17th century), Ramchandra, Bhaiya Bhagwati Das, Dhyan Tarai, Bhudhar Das (18th century), and Vinodi Lal (19th century) are cited as poets who used this form.
• Panchasikā (पंचासिका): Comprises fifty verses, often dealing with moral teachings, advice, and auspicious themes. The earliest known work in this form in Jain Hindi poetry is by Sundardas (17th century), followed by Dhyan Tarai and Bihari Das (18th century).
• Panchashati (पंचशती): This form uses five hundred verses or stanzas, but its usage became relatively rare. The 19th-century poet Chhatrapati used this form.
• Battīsī (बत्तीसी): Based on the number thirty-two. Jain poets wrote Battisīs focusing on the virtues of Tirthankaras and ascetics. Poets like Harkalash and Banarasidas (17th century) used this form, along with Ajayraj Patni, Bhavandas, Laxmi Vallabh, Bhaiya Bhagwati Das, Achalkirti, and Manram from the 18th century.
• Baha-tari (बहत्तरी): Emphasizes the number seventy-two. It was popular in the 18th century, with notable works by Anandghan and Jinrang Suri.
• Bārahamāsā (बारहमासा): A folk numerical poetic form describing the twelve months of the year. It was traditionally used for expressing longing in separation (vipralambha shringar) but also for other themes like union (sanyoga shringar), seasonal descriptions, devotion, doctrine, parental separation, social reform, morals, and experiences. This form has been used in Hindi since the 12th century, with Vinayachandra Suri considered its pioneer. It saw significant use in the 17th and 18th centuries by poets like Ratnakirti, Kumudchandra, Bhagvatidas, Jinh Harsh, Laxmi Vallabh, Vinodi Lal, and Bhavandas.
• Bāvanī (बावनी): Contains fifty-two verses. From the 15th century, it was known as Kakkā and Mātrikā due to its use in verses based on the alphabet (varnamala). In Hindi, such works were called 'Akharavat'. Jayasagar (15th century), Chhīhal (16th century), Udayraj Jati, and Horanand Muni (17th century) are mentioned. The 18th century saw the most extensive use of this form by poets including Banarasidas, Hemraj, Manohar Das, Jinh Harsh, Jinrang Suri, Khetal, and Laxmi Ballabh.
• Shatak (शतक): A numerical poetic form signifying the number one hundred. It transitioned from Sanskrit to Apabhramsha and then to Hindi. Jain Hindi Shatak poetry has a long tradition. Nil and Rupchandra Pandey (17th century) are noted, as are Bhavandas, Bhudhar Das, Bhaiya Bhagwati Das, Hemraj, Yashovijay (18th century), and Vrindavan Das, Budhjan, and Vasi Lal (19th century). This form continued into the 20th century with works by Champabai and Padmachandra Jain Bhagatji. These Shatak poems largely express Jain philosophy and culture.
• Shatpad (षट्पद): Similar to Ashtak (eight verses), works with six verses are called Shatpad. Vidyasagar's work from the 18th century is mentioned.
• Satsai (सतसई): A numerical poetic form, adopted from Apabhramsha, containing over seven hundred verses. It is based on the "Gatha Saptashati." Sundardas (17th century) and Budhjan (19th century) are cited for their works, which convey moral teachings and spiritual discourse.
• Sattari (सत्तरी): A folk numerical poetic form containing seventy verses. Sahaj Kirti (17th century) used this form, which often elaborates on the "seven vices."

In conclusion, the author states that Jain Hindi poets have utilized various numerical poetic forms to express their devotional, spiritual, moral, and didactic sentiments. While many of these forms are traditional, Jain poets and scholars played a crucial role in adopting and adapting them for the expression of beneficial ideas among the general populace. Their efforts have also contributed to the advancement of the poetic form tradition. The footnotes provide an extensive list of specific works and poets associated with each form.