Jain Katha Sahitya Ek Samikshatamaka Sarvekshan

This document is a critical survey of Jain narrative literature, authored by Prof. Sagarmal Jain. It explores the origins, evolution, classification, and thematic elements of Jain stories across various languages and historical periods.

Key points from the survey:

• Origins and Nature of Storytelling: Storytelling is as ancient as humanity itself. While the formal composition of literary narratives might be later, the tradition of storytelling is old. Jain narrative literature, like other traditions, began orally and was later written down, undergoing modifications, expansions, and synthesis over time.
• Scope of Jain Narrative Literature: Jain narrative literature is vast and multi-faceted, encompassing various forms like metaphors, narratives, dialogues, short stories, plays, lyrical poems, biographical poems, and epic poems, extending even to modern novelistic styles. It is found in prose, verse, and mixed (Champū) forms, across diverse languages and eras.
• Classification of Jain Stories: Jain scholars classified stories into three categories:
  • Akathā (Non-narrative): Aimless, imaginative, or not inspiring good or bad deeds.
  • Kathā (Narrative): Stories with a moral purpose.
  • Vikaṭhā (Improper narrative): Stories that incite sensual desires. Vikaṭhā includes rajakathā (stories of kings), bhātakathā (stories of singers/entertainers), strikathā (stories of women), and deśakathā (stories of countries).
  • A four-fold classification is also mentioned: Artha-kathā (stories about wealth), Kama-kathā (stories about desire), Dharma-kathā (religious stories), and Mishra-kathā (mixed stories).
• Types of Dharma-kathā: Dharma-kathā is further divided into four types:
  • Ākshepaṇī: Stories that highlight the faults of the sinful path to inspire the righteous or moral path.
  • Vikshepaṇī: Stories that expose the flaws of irreligion and refute them.
  • Saṃvegini: Stories that foster detachment or renunciation. It can also evoke compassion for the suffering of others.
  • Nirvedanī: Stories that lead to equanimity, inner peace, and a state free from desires and distractions.
• Languages of Jain Narrative Literature: Jain narrative literature has been composed in various languages, including Prakrit (with its diverse forms like Ardhamāgadhī, Jain Śaurasenī, Māhārāṣṭrī), Sanskrit, Kannada, Tamil, Apabhraṃśa, Marugujara (Old Gujarati), Hindi, Marathi, and Gujarati, and to some extent, Bengali.
• Historical Periods of Jain Narrative Literature: The author divides Jain narrative literature into five periods based on language prominence:
  1. Āgama Period (6th century BCE to 5th century CE): Primarily spiritual and symbolic stories in Ardhamāgadhī Prakrit. Examples include metaphors of shell-holes, turtles, and lotuses in Ācārāṅga and Sūyagaḍaṃga.
  2. Prakrit Āgama Commentary Period (2nd to 8th century CE): Marked by influential works like Vimala Sūri's Pauṃmacariyaṃ (Ramayana story) and Saṃghadāsa Gaṇi's Vasudevahiṇḍī. This period saw the development of the art of weaving stories within stories.
  3. Sanskrit Commentary and Purāṇa Era (8th to 14th century CE): A very rich period with numerous narrative works by Śvetāmbara and Digambara scholars. This includes biographical epics, mythological narratives, and story collections. Notable works include Hemacandra's Triṣaṣṭiśalākāpuruṣacarita, Somadeva's Yaśastilaka Campū, and various Kathākośa (encyclopedias of stories).
  4. Late Medieval Period or Apabhraṃśa and Marugujara Era (14th to 18th century CE): Marugujara became a significant medium. Many stories related to pilgrimage sites, vows, festivals, and worship were written, often emphasizing miracles. Semi-historical Raso literature also belongs to this period.
  5. Modern Indian Language Period (19th century to present): Dominated by Hindi, Gujarati, Marathi, and Bengali. Hindi saw the creation of numerous Jain stories and novels, often based on older themes but with modern presentation. Gujarati also has a substantial body of Jain narrative literature.
• Key Themes and Purposes:
  • To entertain and attract the general populace to Jainism.
  • To introduce the virtues of the protagonists.
  • To inspire good deeds and moral conduct by showcasing the consequences of actions.
  • To promote renunciation by highlighting the impurity of the body and the impermanence of worldly pleasures.
  • To explain the justification or non-justification of following exceptions in specific circumstances.
  • To confirm the theory of karma through discussions of happiness and suffering in past and future lives.
  • To resolve philosophical issues through apt examples and dialogues.
• Overall Objective: Despite its multi-dimensionality and multi-lingual nature, Jain narrative literature is predominantly didactic and spiritual. Its primary aim is to nurture the path of renunciation, thus establishing purposeful and spiritual values. It has been continuously flowing for nearly three millennia.

In essence, Professor Sagarmal Jain's survey provides a comprehensive overview of the rich and diverse landscape of Jain narrative literature, highlighting its enduring appeal and its profound spiritual and ethical underpinnings.