Jain Katha Sahitya Ek Chintan - Book Summary

Here is a comprehensive summary of the provided Jain text, "Jain Katha Sahitya Ek Chintan" by Devendramuni Shastri:

The text "Jain Katha Sahitya Ek Chintan" (A Contemplation on Jain Narrative Literature) by Upacharya Shri Devendramuni Ji Maharaj, delves into the profound and widespread influence of storytelling in human civilization, with a particular focus on the unique contribution of Jain narrative literature.

The Universality and Ancient Roots of Storytelling:

The author begins by asserting that stories are the genesis of the world's finest poetry and that humans have an innate attraction to them since time immemorial. This attraction spans all aspects of life, with people constantly narrating their life stories from birth to death. The desire to tell and hear stories is universal. The text traces the historical presence of storytelling elements back to the Rigveda, the world's oldest known scripture, where foundational elements of stories are found in hymns. It mentions ideal female characters like Appala Aameyi in the Rigveda.

The narrative tradition continues through the Brahmana texts, citing the well-known story of Pururavas and Urvashi from the Shatapatha Brahmana. The Upanishads are also highlighted, presenting dialogues like Gargi and Yajnavalkya, and stories such as that of King Janashruti in the Chandogya Upanishad. The Puranas are described as a gateway to Vedic study, where the fundamental stories of the Vedas blossom. The epics of the Ramayana and Mahabharata are also filled with numerous narratives, with the Mahabharata being described as a veritable "treasury of stories." This establishes a long and rich tradition of narrative literature in India, including works like Panchatantra, Hitopadesha, and others.

The Significant Contribution of Jain Narrative Literature:

The text then pivots to emphasize the "great contribution" of Jain stories in making the river of narrative literature swift and flowing. Jain stories are likened to a pure stream that has nourished countless beings for ages. These narratives are characterized by a harmonious blend of style and form, imbued with waves of humanity. Their scope is so vast that defining their beginning and end is difficult. They are marked by faith in ideals and a constant, sometimes silent and sometimes fiery, rebellion against persistent doubts and mistrust. The dual shores of Jain stories are "Bhava" (emotion/spirit) and "Karma" (action). Along these shores, they have measured the distance of human life, recognized the boundless meanings of joy and sorrow, narrowness and generosity, experienced the bitter lessons of a ceaseless journey, and understood the separation between different eras. The author states that Jain stories have provided shelter to various world narratives, and their essence permeates global storytelling. They echo renunciation, virtuous conduct, and a deep faith in eternal happiness. The depth of culture embedded in Jain stories is found to a lesser extent in other literary forms. Jain stories are seen as the primary source for understanding the fundamental truths of human life and the eternal elements of culture. The dignity and utility of these stories have not diminished with time or been obscured by individual pride; rather, their antiquity has made them more successful, and personal obstacles have made their universality indispensable.

Classification and Characteristics of Jain Narrative Literature:

The text details the classification of Jain narratives, referencing the Dvadasangi (twelve limbs of Jain scripture) as fundamental. Specific texts like Nayadhammakaha, Uvasagadasao, Antagadasao, Anuttaropapatika, and Vipaka Sutra are described as predominantly narrative. Other scriptures like Uttaradhyayana, Suyagada, and Bhagavati also contain numerous allegorical and impactful stories. Independent narrative works like Tarangavati, Samarachchaha, and Kuvalayamala are hailed as world-class narrative treasures. The author suggests that a thorough study of this literature will reveal novel insights and demonstrate that Jain narrative literature is even older than Vedic narratives.

The author cites Dr. Vasudev Sharan Agrawal, who notes that while Buddhists created new narrative literature like the "Avadanas," Jain writers have produced an unparalleled body of work in terms of scope, diversity, and the use of multiple languages. Jain narrative literature is described as a vast repository from the beginning of the Vikram Samvat era to the 19th century, with an unbroken stream of narrative texts.

The text further categorizes the types of stories found in Jain literature:

From the Angas (Agamas): Nayadhammakaha, Uvasagadasao, Antagadasao, Anuttaropapatika, Vipaka Sutra, Uttaradhyayana, Suyagada, Bhagavati.
Independent Narrative Works: Tarangavati, Samarachchaha, Kuvalayamala.

The text also references the classification of stories in the Digha Nikaya (a Buddhist text, but used here to illustrate broader narrative classification) which lists 27 types of stories, including royal stories, thief stories, minister stories, army stories, fear stories, war stories, food stories, drink stories, clothing stories, sleeping stories, garland stories, scent stories, caste stories, vehicle stories, village stories, market stories, city stories, district stories, woman stories, man stories, heroic stories, market stories (merchandise), well stories, stories of cowherds, meaningless stories, folk tales, and ocean tales.

Within Jain scriptures, the Sthananga Sutra classifies stories into three types: Akatha (unworthy stories), Vikatha (improper stories), and Katha (worthy stories). Only "Katha" is considered valuable. The text indicates that worthy stories are further classified based on subject matter, style, characters, and language.

A common classification of Jain stories into four parts is presented:

Religious Stories (Dharma Sambandhi Katha): These are the most prominent, aiming to glorify religion and propagate righteous conduct.
Economic Stories (Artha Sambandhi Katha):
Love/Desire Stories (Kama Sambandhi Katha):
Liberation Stories (Moksha Sambandhi Katha): The underlying theme in all classifications is the pursuit of liberation.

Another classification includes: religious, historical, social, instructive, entertaining, supernatural, moral, animal/bird stories, ballads, curse/boon stories, business stories, miscellaneous, travel stories, guru-disciple stories, deity stories, omen stories, mantra-tantra related stories, intelligence testing stories, stories related to specific castes/classes, specific justice-related stories, fictional stories, and miscellaneous.

The author proposes a broader classification of all Indian narrative literature into four main categories:

Didactic Tales (Niti Katha):
Religious Tales (Dharma Katha):
Folk or Popular Tales (Loka Katha):
Allegorical Tales (Rupak Katha):

The Sthananga Sutra's classification of Arthakatha (worldly stories), Kamakatha (desire stories), and Dharmakatha (religious stories) is also discussed. The Arthakatha, when dealing with acquiring wealth through knowledge, is considered valuable. Kamakatha, which evokes impure feelings upon hearing, is considered undesirable and a form of "Vikatha" (improper talk). Dharmakatha, which instills renunciation, virtue, and moral conduct, is the focus of Jain scriptural narratives.

Jain Narratives and their Impact:

Jain stories have been composed in Sanskrit, Prakrit, and Apabhramsha, enriching languages and refining public sentiment. Jain authors have used these stories to simplify profound philosophical principles and have helped laymen and laywomen purify their natural tendencies. Jain scholars have illuminated the bright and dark sides of human life through these narratives, consistently emphasizing the "bright side" and establishing idealism.

Compared to Buddhist literature, Jain narrative literature is considered more successful and richer. Jain stories explain the causes of past and present suffering and happiness, but their primary focus is on the present. In contrast, Buddhist Jataka tales often focus on the Bodhisattva's past lives. The text provides an allegorical story from the Suyagada Agama about a lotus in a pond to illustrate how a renunciate can liberate others.

The author highlights that Jain authors have drawn from this ancient narrative tradition to compose numerous stories in Sanskrit, Prakrit, and Apabhramsha, with works like "Paumachariu" and "Bhavisayattakaha" being invaluable. These stories offer many instructive narratives. Jain scholars have created numerous collections of stories that promote Jainism and reinforce its religious principles, showcasing eternal truths and inspiring renunciation.

Comparison with Vedic and Buddhist Literature:

The text points out that the narrative literature of Jainism is older than that of Vedic traditions. It states that Jain literature is replete with stories from its ancient beginnings. While Buddhist literature has "Avadana" literature in addition to Jataka tales, Jain writers have achieved unparalleled scope, diversity, and multilingualism in their narrative output. The author also notes that Jain stories travel from one tradition to another and from one country to another, indicating their universal appeal and adaptability. Their transmission across cultures proves their timeless and enchanting form, which has always captivated the human mind.

Key Jain Narrative Texts and Styles:

The text lists significant Jain narrative works and their authors across different languages:

Prakrit Literature: Tarangavati (Padalipta Suri), Samarachchaha (Acharya Haribhadra), Kuvalayamala (Uddyotana Suri), Chhappanna Mahapurisa Chariu (Shilankacharya), Jambuchariu (Gunapal Muni), Surasundari Charu (Dhaneshwar Suri), Ratnachuda Rayachariu (Nemichandra), Parsvanatha Charu (Padmakirti), Rithanemi Charu (Dhaval), Bhavisayattakaha (Dhanpal), Jambuswami Charu (Veer Kavi), Madanasena Charu (Nayanandi), Karakandu Charu (Kanakamara Muni), Pau masiri Charu (Gahil), and others.
Apabhramsha Literature: Pau machariu (Svayambhu), Trisashthi Shalaka Purusha Gunaalankara (Pushpadanta), Nayakumara Charu (Pushpadanta), Jasharah Charu (Pushpadanta), Pascharu (Padmakirti), Ritthanemi Charu (Dhaval), Bhavisayattakaha (Dhanpal), Jambuswami Charu (Veer Kavi), Madanasena Charu (Nayanandi), Karakandu Charu (Kanakamara Muni), and others.
Sanskrit and other language translations: Many Prakrit and Sanskrit stories have been translated into Hindi, often with original imaginative elements.

The author notes that Jain Apabhramsha narrative works are predominantly metrical and often feature mythological or devoted Jain followers as protagonists. These works are praised for their language, meter, poetic skill, and modern presentation.

The Purpose and Impact of Jain Stories:

The core purpose of Jain stories, as highlighted throughout the text, is to inspire renunciation, righteous conduct, and morality. They are designed to purify the mind and awaken a sense of detachment and spiritual inclination in the listener. Jain stories aim to guide individuals towards the path of virtue and liberation. They cover a wide range of themes, including the consequences of desires, the importance of vows and righteous living, and the ultimate triumph of good.

The text concludes by stating that Jain narrative literature is a precious treasure that needs to be presented in the contemporary language of Hindi. While efforts are being made, the vastness of this literature requires collective endeavor. The author expresses the hope that by following the teachings of Lord Mahavir, world peace can be achieved, and social inequalities, religious conflicts, and political tensions can be resolved.

In essence, "Jain Katha Sahitya Ek Chintan" is a scholarly exploration of the historical development, diverse classifications, profound themes, and enduring impact of Jain narrative literature, emphasizing its significant contribution to the rich tapestry of Indian storytelling and its underlying spiritual and moral purpose.