Jain Kaviyo Dwara Rachit Hindi Kavya Me Pratik Yojana

Here's a comprehensive summary of the provided Jain text, "Jain Kaviyo dwara Rachit Hindi Kavya me Pratik Yojana" (Symbolic Schemes in Hindi Poetry Composed by Jain Poets) by Mahendrasagar Prachandiya, based on the provided pages:

The book explores the significant role of symbolic schemes (Pratik Yojana) in Hindi poetry, particularly within the works of Jain poets. It begins by establishing the linguistic and aesthetic lineage of Hindi poetry from Apabhramsha, highlighting that the fundamental elements of poetic expression, including the use of symbols, were inherited from this earlier form.

Understanding the Concept of a Symbol:

The text delves into the etymology of the word "pratik" (symbol), tracing its roots to the Sanskrit verb "iñ" (to go) with the prefix "prati." This suggests a meaning related to "going towards" or "understanding." Essentially, a symbol is defined as a tangible, visible object or sign that represents an abstract idea or an unseen subject. It acts as a substitute, conveying meaning through association or resemblance. Symbols, often drawn from nature, are called "indriyagamya" (perceptible by the senses). They help in vividly expressing abstract emotions, making them easily grasped by the reader or listener, and creating a profound impact.

The text further explains that symbols are nourished and developed through various literary devices such as upama (simile), rupaka (metaphor), atishayokti (hyperbole), and specific types of lakshana (metaphorical extension). It emphasizes that effective symbolism relies on the natural and intuitive understanding of the symbol's meaning. If a symbol doesn't resonate naturally, it fails to evoke the intended emotions.

Types of Symbols:

The book categorizes symbols into two main types:

1. Sandarbhiya (Contextual Symbols): These are symbols that are expressed through language and script, such as national flags, codes used in transportation, and chemical element symbols.
2. Sanghanit (Condensed Symbols): These are found in religious rituals, dreams, and psychological processes. They represent condensed forms of direct expressions or behaviors and aid in the release of conscious or unconscious emotional tensions.

The text acknowledges that both types of symbols are often found in combination in practical life. It also notes that the form and meaning of symbols can vary across different cultures, and their use in literature is driven by the need to enhance rasa (aesthetic sentiment).

Categorization of Symbols in Jain Poetry:

From a thematic perspective, symbols in Hindi Jain poetry can be broadly divided into:

1. Symbols representing suffering and sorrow (Vikara aur dukh vivechak pratik): These likely depict the hardships and negative aspects of worldly existence.
2. Symbols of self-realization (Atmabodhaka pratik): These would relate to introspection and understanding the self.
3. Symbols of the body (Sharirabodhaka pratik): These may refer to the physical form and its limitations or potential.
4. Symbols of virtues and ultimate happiness (Guna aur sarvasukhbodhaka pratik): These would represent positive qualities and the attainment of bliss.

The text also mentions that some symbols used for spiritual contemplation and philosophical exposition might not fit neatly into these categories.

Evolution of Symbolic Schemes in Jain Poetry (Chronological Analysis):

The book then proceeds to analyze the development of symbolic schemes in Hindi Jain poetry century by century, starting from the 15th century.

• 15th Century: Jain poets of this era primarily focused on propagating their philosophical and spiritual ideas to the masses. While they adopted prevalent poetic forms, meters, and figures of speech, their primary goal was clear communication rather than intricate artistic ornamentation.

  • Pradyumna Charitra by Sudharu: Uses "timir" (darkness) symbolically for moha (delusion) and "pash" (noose) for the worldly bondages of transmigration. These are recognized as common symbols also used by prominent Bhakti and Sant poets like Kabir, Surdas, Tulsidas, and Mirabai.
  • Simandhar Jin Stavan by Merunandan Upadhyay: Employs "sindhu" (ocean) as a symbol for the world.
  • Kamaghat and Devamani/Devataru: Used symbolically for fulfilling desires, with "devataru" being a parallel to the more common "kalpataru" (wish-fulfilling tree) and "devamani" to "chintamani" (wish-fulfilling jewel).

• Wedding-themed (Vivahla) Poems: Jain poets in this genre did not depict the marriage of a hero with a human maiden. Instead, they portrayed the hero's initiation into asceticism with "Diksha Kumari" (Maiden of Initiation) or "Sanyamshri" (Greatness of Restraint), with the ascetic being the groom and the initiation the bride. This is highlighted as an innovative symbolic usage.

• 16th Century:

  • Adipurana by Jinas Das: Uses "mukti-vadhu" (bride of liberation) as a symbol for achieving liberation, a common metaphor among saints. The city of "Shivpur" is also used symbolically for moksha (liberation).
  • Bucharaj: Employed the word "sagar" (ocean) symbolically for the world, mirroring its use by Hindi Sant poets.
  • Panthi Geet: Features a notable symbolic depiction of the six states of mind (Shat Leshya). The use of "madhukan" (honeydrops) for worldly pleasures is presented as a unique contribution of Jain poets. A vivid narrative illustrates how worldly pleasures (honeydrops) distract one from dire perils, symbolizing the transient nature of such joys. This symbolism is still found in Jain temples.
  • Panchendriya Beli: Uses the "ghat" (pot) as a symbol for the body or the soul, emphasizing the importance of purity of the "ghat."
  • Tandana Taand: The author Bucheraj composed an entire work in symbolic language. "Tandana" (a moving group of merchants) symbolizes the world as a collection of beings.
  • Chunadi by Muni Vinaychandra: This is a symbolic composition where the principles of Jainism are depicted as intricate designs adorned by the "rangrez" (dyer) husband.

• 17th Century:

  • Panth Bhagawatidas: Composed "Manakarhara Ras," a symbolic work where the mind is depicted as a "karaha" (camel), drawing inspiration from Apabhramsha poet Muni Ram Singh. The poem narrates the camel-like mind's wandering in the desert of the world.
  • Bhattaraka Ratnakirti: Used "Girnar" symbolically for a place of renunciation in the context of Tirthankar Neminath. The word "chintamani" (wish-fulfilling jewel) is used symbolically for fulfilling desires, following the tradition of poets like Tulsidas and Surdas.
  • Banarsi Das Jain: Prominently used the "nat" (actor) as a symbol for the soul, which assumes various forms according to its actions, akin to an actor in different disguises. His work Samaysar also features numerous symbols.
  • Anandghan Ashtapadi by Yashovijay Upadhyay: Uses "paras" (philosopher's stone) as a symbol for good company.
  • Panchgati Beli by Harshakirti: A complete symbolic work detailing the conquest of senses and attachments.

• 18th Century:

  • Kumudachandra: Composed "Banjara Geet," where the "banjara" (nomad) symbolizes a human being wandering through life's cycles.
  • Ratnakirti: In "Neminath Barahmasa," uses "viraha" (separation) symbolically for kama (desire).
  • Manaram: Uses the word "hora" (diamond) symbolically for the precious human life.
  • Bhaiya Bhagwandas: In "Bindak ki Chaupai," uses "ajgar" (python) symbolically for the terrifying entity of time. In "Shat Ashtottari," he employs multiple symbols in a single context: "sua" (parrot) for the soul, "sevar" for desirable worldly subjects, "aam" (mango) for spiritual joys, and "tul" (cotton) for the futility of worldly matters.
  • Ajayraj Patni: In "Charkha Chaupai," the "charkha" (spinning wheel) symbolizes human life.
  • Dhyanrai and Vrindavan Das: Used "tam" (darkness) for ignorance and delusion. The symbol "sindhu" (ocean) for the world is noted as universal.

• 19th Century:

  • Mahachandra: Uses "kalpavriksha" (wish-fulfilling tree) symbolically for religious expression, signifying the fulfillment of all desires.
  • Bhagchandji: In the Ganga River metaphor, uses "pani" (water) for knowledge, "pank" (mud) for doubt, "tarang" (wave) for the saptabhanga nyaya (sevenfold judgment) doctrine, and "maral" (swan) for virtuous people. Bathing in this symbolic Ganga leads to purification.
  • Pooja (Worship) Genre: This period saw significant symbolic usage in the "Pooja" genre.
    • Vrindavan Das: Uses "timir" (darkness) for delusion in the worship of Shri Padmaprabhu.
    • Budhajan: Uses "neend" (sleep) symbolically for delusion.
    • Shantinath Puja: "Shivnagari" (city of Shiva) is used symbolically for moksha (liberation from the cycle of birth and death).
  • Chhatrapati: Uses "sindhu" (ocean) symbolically for suffering.
  • Mangatarai: Uses "singh" (lion) symbolically for terrifying time.

Conclusion:

The book concludes by summarizing that Hindi poetry composed by Jain poets is rich in symbolic usage. At times, these poets have even enriched the Hindi language with their novel symbolic innovations. The analysis across centuries demonstrates a progression from occasional symbolic vocabulary to entire symbolic compositions, reflecting a growing artistry and a deep engagement with philosophical and spiritual themes.