Jain Kavyo Ke Braj Bhasha Prabandh Kavya

Here's a comprehensive summary of the provided Jain text, "Jain Kavyo ke Braj Bhasha Prabandh Kavya" by Lalchand Jain:

This work, "Jain Kavyo ke Braj Bhasha Prabandh Kavya" (Jain Poets' Prabandh Kavyas in Braj Bhasha), authored by Dr. Lalchand Jain, highlights the significant and often overlooked contribution of Jain poets to Braj Bhasha literature, particularly in the genre of Prabandh Kavya (narrative poetry).

The author begins by emphasizing the indelible mark left by Jain poets on Indian literature. Just as Jainism holds a crucial position among Indian religions, Jain literature is equally important within Indian literary traditions. Jain scholars and poets have consistently demonstrated their intellectual prowess and emotional depth throughout history, contributing to various languages and literary forms across India, including Braj Bhasha.

While acknowledging the abundance of muktaka (lyric) poetry by Jain poets in Braj Bhasha, the book specifically focuses on their prabandh kavyas. These narrative works encompass mahakavyas (epics), khandakavyas (shorter narrative poems), and ekartha kavyas (poems with a single theme or narrative).

The text then provides a substantial list of these prabandh kavyas, categorizing them:

• Mahakavyas: Examples include Parshvapuran by Bhudhardas and Nemishwar Das by Nemichandra.
• Ekartha Kavyas: Notable works are Sita Charit by Ramchandra Balak, Shrenik Charit and Yashodhar Charit by Lakshmidas, and Yashodhar Charit Chaupai by Sah Lohat. These are described as having characteristics of narrative poetry and historical accounts alongside their primary narrative structure.
• Khandakavyas: A significant number of these are mentioned, with diverse titles like Katha, Charit, Chaupai, Mangal, Biyah, Chandrika, Barahmasa, Samvad, and even collections based on verse counts (Shat Ashtottari, Soa Battisi, Rajul Pachisi). Examples include Bankchor ki Katha by Nathmal, Adinath Beli by Bhattarak Dharmachandra, Ratnpal Raso by Surachand, and numerous works by Bhaviya Bhagwathidas and Vinodilal.

The author also notes the existence of a considerable number of anudit prabandh kavyas (translated narrative poems), citing titles such as Dharmapariksha by Manohar Lal, Pandav Purana by Bulakidas, and Jeevadhar Charit by Daulatram Kasalival.

Even excluding translated works, the volume of original prabandh kavyas by Jain poets is considerable. These works exhibit diversity in their naming conventions, subject matter, and styles. Themes range from mythology (Sita Charit, Shrenik Charit) to religious narratives (Bankchor ki Katha) and philosophical or spiritual subjects (Chetan Karma Charit, Panchdriya Samvad).

A crucial point raised is the context of their composition: the Riti period (Age of Ornamentation) in Hindi literature, an era dominated by shringar (erotic and romantic) muktaka poetry. The emergence of numerous prabandh kavyas with their distinct themes and structures during this time is presented as a noteworthy achievement.

The text further elaborates on the characteristics of these prabandh kavyas:

• Mahakavyas: The two primary epics, Parshvapuran and Nemishwar Ras, are evaluated as meeting the criteria of epic poetry in terms of noble heroes, grand objectives, well-developed plots, descriptions of actions, emotional expression, and elevated tone.
• Khandakavyas: These are further categorized:
  • Bhav Pradhan (Emotion-centric): Many are noted for their emotional intensity, ability to touch the heart, and lingering aesthetic impact. The sonic beauty of the meters used is also highlighted. Works by Asakaran and Vinodilal are specifically mentioned in this regard.
  • Varnan Pradhan/Ghatna Pradhan (Description-centric/Event-centric): Examples include Bankchor ki Katha and Chetan Karm Charit.
  • Samanvayatmaka (Integrative): Works that blend description and emotion, such as Shilakatha and Soa Battisi, are also discussed.

Dr. Bhagwathidas and Vinodilal are identified as prominent figures in the realm of khandakavya, with Bhagwathidas authoring five significant works. His khandakavyas are described as having a thin narrative framework but a rich artistic and poetic texture. The author draws a parallel between Bhagwathidas's works and Prasad's Kamayani, suggesting that while Bhagwathidas's works are khandakavyas due to their focused scope, Kamayani is an epic due to its grand vision. Bhagwathidas is lauded as a great poet even without composing epics. Vinodilal's khandakavyas are also praised for their excellence in emotion, language, and style.

The author also delves into the purpose and themes of these prabandh kavyas. In contrast to the prevailing trend of indulgence and worldly pleasure in the Riti period, Jain prabandh kavyas emphasize nivrittimoolakta (renunciation) and the prominence of the shanta (peaceful) rasa. Jain poets, in line with earlier traditions like Banarsidas's recognition of shanta as the paramount rasa, are depicted as spiritual and opposed to carnal love. Their works often lead the erotic sentiment into the flow of peace.

The pervasive themes include:

• Devotion (Bhakti): A strong current of devotion runs through these works.
• Religion and Philosophy: These are integral, reflecting the authors' saintly disposition.
• Praise of Jain Tirthankaras: Many works celebrate the glory of the sixty-three illustrious figures of Jain tradition.
• Spiritual and Philosophical Revelation: Allegorical and symbolic styles are used to unveil spiritual mysteries.
• Establishment of Noble Values and Ideals: These are presented through the lives of various characters.

The underlying objective of these prabandh kavyas is seen as providing inspiration and hope to a humanity afflicted by the socio-political upheaval of the feudal era. They aim to dispel darkness and despair, instill moral strength in those weakened by luxury, and guide individuals toward spiritual upliftment. The constant flow of devotion is intended to cleanse sins and purify the soul. The exemplary characters serve as models for cultivating virtues.

In essence, these prabandh kavyas illuminate both the practice (achara) and thought (vichar) of Jainism, asserting that individual and societal well-being depend on adherence to dharma and moral purity. They typically feature struggles that ultimately lead to the triumph of self-reliance, with an emphasis on worldly ideals. The victory of righteousness over unrighteousness, truth over falsehood, and virtue over vice is a recurring motif. Various vices like violence, anger, hatred, attachment, greed, and misconduct are depicted as leading to immense suffering, while virtues like non-violence, forgiveness, renunciation, self-control, and chastity are shown to lead to ultimate success in this world and the next. The ultimate goals are detachment (vairagya) over attachment (raag), spiritual love over physical love, Yoga and austerity over indulgence, and ultimately, liberation (moksha). While wealth and desire (artha and kama) are acknowledged, they are viewed as mere means to achieve dharma and moksha.

In conclusion, regardless of their precise placement within the broader tradition of prabandh kavya, these works are deemed to possess immense significance from social, religious, and literary perspectives, embodying profound thought, ethical purity, social welfare, and spiritual self-elevation.