Jain Katha Sahitya Me Nari - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Jain Katha Sahitya me Nari" (Woman in Jain Story Literature) by Sushila Jain:

Book Title: Jain Katha Sahitya me Nari (Woman in Jain Story Literature) Author: Dr. Smt. Sushila Jain Publisher: Z_Kesarimalji_Surana_Abhinandan_Granth_012044.pdf Catalog Link: https://jainqq.org/explore/210611/1

Overall Theme: This text explores the multifaceted portrayal of women within Jain narrative literature, highlighting their diverse roles, characteristics, and societal positions throughout various periods. The author emphasizes that story literature, as a source of enlightenment, self-reflection, and artistic appreciation, has always attracted wise individuals and is intrinsically linked to human culture.

The Nature and Scope of Story Literature: The author begins by establishing the broad appeal and all-encompassing nature of storytelling. Stories can encompass the smallest ant to the largest elephant, and the mundane to the extraordinary, drawing from reality and imagination. They are illuminated by the sun, soothed by the moon, embraced by the ocean, and perfumed by flowers. Swords of heroes, ascents of hermits to heaven, the fairness of royal justice, and the captivating forms of women all find their expression in narrative. Story literature humanizes individuals from kings to beggars through their simplicity, gentleness, forgiveness, and contentment. Historical truths are also solidified through storytelling.

The Journey of the Indian Woman in Jain Narrative: The text posits that the journey of the Indian woman, as depicted in Jain story literature, is complex, marked by both fulfillment and distress, strength and vulnerability. Despite facing immense atrocities, injustices, and horrific situations, women possess an innate ability to overcome adversity, making them symbols of ultimate penance, unwavering spiritual goals, rigorous discipline, and fundamental societal change.

Categorization of Women in Jain Story Literature: The author identifies a vast array of roles and representations of women in Jain narrative literature. These include:

As a Daughter
As a Maiden/Unmarried Woman
As a Queen/Empress
As a Ruler
As a Proud Woman
As a Rebel
As an Unmarried Woman (repeated, likely emphasizing different aspects)
As a Married Woman
As a Woman Suffering from Separation
As a Protector of the Nation
As a Housewife
As a Nun (Sadhvi)
As a Virtuous Woman
As a Fallen Woman
As an Enchantress
As an Ideally Educated Woman
As a Master of Various Arts
As a Warrior
As a Devotee of Religion
As a Politician
As a Courtesan
As a Spy
As a Progressive Woman
As a Woman Adhering to Traditional Norms
As an Adulterous Woman
As a Mistress of Mantras and Tantras
As a Young Woman Coming of Age
As a Mature Young Woman
As a Self-Respecting Woman
Miscellaneous/Unclassified

The text further mentions that women are depicted with qualities such as humility, forgiveness, domesticity, skill in crafts, wisdom, patience, devotion to God, and marital fidelity. The book "Shringar Nama Granth" is cited as categorizing women into forty forms, including Rupali, Chandramukhi, Chakoraksi, Chittaharini, Chaturiyavanti, Hansgati-gamini, Shilavanti, Sulakshani, Shyama, Navangi, Navayauvana, Gaurangi, Gunavanti, Padmini, Peenastani, and Hastamukhi.

Ancient Jain Literature and Societal Practices: Ancient Jain literature frequently praises women in various forms, such as Mahadevi, Shiva, Jagadamba, Bhadra, Raudra, Gauri, Buddhi, Chhaya, Shakti, Krishna, Shanti, Lajja, Shraddha, Kanti, and Daya. However, the practice of polygamy is noted as a source of suffering for women at various times.

The text reveals that in ancient times, wealthy families commonly practiced polygamy, and men with multiple wives were considered reputable and respected. Even lay followers (Shravaks) had multiple wives. Examples from the "Lati Samhita" (V.S. 1641) and "Dharmapariksha" by Amitagati (V.S. 1070) are cited to support the prevalence of polygamy and the practice of widow remarriage. Furthermore, Jain texts indicate the presence of slavery within the community, similar to other societal classes. Women purchased were considered slaves, while those kept without formal marriage were called "chetika," who were intended for pleasure and enjoyment. Some purchased slaves were accepted as wives, known as "rakhel" or "parigrahita." The concept of "Brahmacharya" or "swadar-santosh vrata" (satisfaction with one's own wife) for householders meant considering all women other than their purchased slaves and wives as mothers, sisters, or daughters. Jain texts also extensively discuss different categories of women.

Regional Depictions of Women's Beauty: Jain narrative literature categorizes women from various regions based on their distinctive physical beauty. This includes descriptions of women from Kerala, Vanga, Chola, Pallava, Kuntala, Malayachala, Karnataka, Hastinapur, and Kashmir, highlighting specific features and their symbolic associations.

Contribution of Jain Women to Sanskrit Literature and Religious Service: The text acknowledges the significant contribution of Jain women, alongside other women, to the development of Sanskrit literature. It also commends Jain women for their exemplary roles as religious devotees (Dharmasevikas). Ancient inscriptions and paintings suggest that Jain laywomen (Shravikas) wielded considerable influence in society. Through their sacrifices, many Jain women, such as Dhanavati (wife of King Padma of the Ikshvaku dynasty), Sushama (wife of Chandragupta of the Mauryan dynasty), and Suprabha (wife of Siddhasena), made substantial contributions to Jainism with their generosity and self-sacrifice.

The Vastness of Jain Story Literature: The author asserts that all Jain literary material falling under "Prathamanuyog" (the first category of Jain scriptures, focused on narratives) is essentially story-based. She considers Prathamanuyog to be vaster than the other three categories (Charananuyog, Dravyanuyog, and Karananuyog). The lifecycle narratives of Tirthankaras, the biographies of the "Trethasathshala Purushas" (63 great individuals), "Charitrakavya" (poetic and prose biographies), and "Katha Kosh" (collections of stories) constitute a massive body of work. Jain story literature is abundant in Sanskrit, Prakrit, Apabhramsha, and various regional languages.

The text quotes Dr. Vasudev Sharan Agarwal, who notes that while Buddhists created narrative literature like "Jatakas" and "Avadanas," the collection of stories by Jain authors is unparalleled in its scope, diversity, and multilingualism. The tradition of Jain narrative works continued uninterrupted until the 19th century. The sheer volume of this literature would require at least fifty years for comprehensive editing and publication.

Jain Story Literature as a Source of Knowledge and Tradition: Dr. Shankar Lal Yadav is quoted as stating that Jain stories have significantly contributed to the multi-faceted flow of narrative literature. The original Jain scriptures (Agamas), particularly the "Dwadashangi," are replete with stories. Scriptures like "Naya-dhamma-kaha," "Uvasaga-dasao," "Antagada," "Anuttaraupa-patika," and "Vipaka-sutra" are entirely narrative. Other scriptures like "Suyagadanga," "Bhagavati," and "Thana-anga" contain numerous allegorical tales that are deeply evocative and impactful. Independent narrative works like "Tarangavati," "Samaraichchhakaha," and "Kuvalayamala" are considered world-class literary treasures. A systematic and chronological study of these works is believed to reveal new facts and establish Jain literature as even older than Vedic narratives.

The text then lists several "Katha Kosh" (collections of stories), including:

Kathakosh (or Kathakosh Prakaranam) by Vineshvara Suri.
Kathakosh (author unknown).
Katharatnakosh by Devabhadra.
Kathakosh (Bharateshwar Bahubali Vritti) containing biographies of great figures.
Kathakosh (Vratakatha Kosh) by Shruta Sagar, with simple style and engaging content.
A collection of 140 verses by Vijayachandra.
Akhyanamanikosh with 41 chapters.
Katharatnasagar with 15 sections by Narachandrasuri.
Katharatnakar with 258 Jain stories in Sanskrit, adorned with ancient extracts.
Katharnava by Kavi Dharmaghosh, containing stories of Jain ascetic heroes.
Katha Sangraha by Rajshekhar Maldhari, with numerous interwoven sub-stories.
Shri Ramchandra Mumukshu's Sanskrit Punyashrava Katha Kosh.

Numerous other Jain "Katha Kosh" are mentioned as being available. Translations into Hindi of many other narrative works like "Shantinath Charitra," "Vasudevahindi," "Paumachariyam," and "Surasundaracharitam" are also noted.

Specific Examples of Women in Jain Narratives: The text highlights specific "colorful or poignant portrayals" of women within Jain stories, often categorized by themes:

Karkasha Patni (Harsh Wife)
Princess of the Past, Slave of Today (illustrating the roots of slavery)
The Influential Discourse of a Leading Nun
Queen Mrigavati's Unwavering Self-Confidence
The Dance Artistry of Devadatta, a Courtesan
The Miracle of Chastity (portraying the noble form of woman)
Two Gardeners' Daughters who become wives of Saudharma Indra solely by offering a flower to the Jain temple out of devotion.
Mainasundari, who cures her husband of leprosy through her ascetic practices.
Sati Jasma Odan, Sati Rishidatta, and Lilapat-Jhanjhkara who are revered for their wifely devotion.

Concluding Homage to Womanhood: The text concludes with a powerful tribute to women, stating that in the conflicts of struggles, the woman who rises is entirely worthy of veneration, worship, emulation, and is endowed with illuminating talent. It quotes a passage from the Shakti Sangam Tantra, Tara Khand, which states:

"There is no yoga like woman, Neither in the past nor in the future. There is no mantra like woman, There is no penance like woman. There is no wealth like woman, Neither in the past nor in the future."

This final passage underscores the profound respect and elevated status accorded to women in Jain philosophy and narrative traditions.