Jain Mithakh Tatha Unke Adi Stroat Bhagawan Rishabh

Here is a comprehensive summary of the provided Jain text, "Jain Mithakh tatha unke Adi Stroat Bhagawan Rishabh" by Harindrabhushan Jain, in English:

This document explores the concept of "myth" in Jainism, defining it as ancient narratives or "puranas." It establishes Jainism as a religion of those who conquer enemies of karma, guided by Siddhas, Arihantas, and Tirthankaras. Lord Rishabh (Rishabhdev) is identified as the first Tirthankara of this era, and the Jain religion is considered extremely ancient due to the incalculability of his time. Lord Mahavir is the last Tirthankara of this era.

The text categorizes Jain literature into four "Anuyogas":

• Prathamanuyoga: Deals with narratives and the lives of Puranic figures (mythological or ancient heroes). This is identified as the literature of Jain myths.
• Karananuyoga: Discusses the lok (world) and alok (non-world).
• Charananuyoga: Outlines the conduct for householders and ascetics.
• Dravyanuyoga: Explains the seven fundamental principles like soul (jiva) and non-soul (ajiva).

Prathamanuyoga is further defined as explaining the ultimate meaning of liberation, the lives of meritorious Puranic figures, and being a source of right knowledge and understanding. It is divided into "Charitra" (stories focused on a specific individual) and "Purana" (stories focused on the sixty-three "Shalaka Purushas"). These sixty-three figures include 24 Tirthankaras, 12 Chakravartis (universal emperors), 9 Baladevas, 9 Vasudevas, and 9 Prat-Vasudevas. The text notes that originally there might have been an emphasis on "Yuva Shalaka Purushas," and the inclusion of nine Prat-Vasudevas to reach sixty-three is an area for further research.

The abundance of Jain mythological literature is highlighted, available in Prakrit, Sanskrit, and Apabhramsha languages. Examples of Puranic texts in each language are provided, such as "Paumacariya" and "Mahapurana." The definition of a "Purana" by Jinsevacharya in "Mahapurana" is cited as "Purana means ancient." He states that his work describes the lives of the sixty-three Shalaka Purushas. A Purana is considered to describe one Shalaka Purusha, while a Mahapurana describes many. A Purana's content includes descriptions of the six substances, creation, establishment of sacred places, past and future births, moral and religious teachings, consequences of good and bad deeds, and the narrative itself. The text suggests that Purana should ideally cover the lives of great men, seasonal changes, natural phenomena, extraordinary events, the universe (heavens and hells), the beginning and end of creation, rebirth, karma, lineage, origins of nations, social institutions, and religious events.

Jain Puranas have incorporated a poetic style, and according to Jinsevacharya, a Mahakavya (epic poem) depicts the lives of great men from ancient history, like Chakravartis, and is related to Dharma (religion), Artha (wealth), and Kama (desire). The Mahapurana is considered a Mahakavya, indicating the influence of poetic style. The text suggests that the narrative basis of these works originates from the teachings of Tirthankaras and has been passed down through tradition. This literature flourished from the 6th to the 18th century.

Jains were pioneers in using the spoken language of the common people for their literature to influence them in religious propagation. This led to the creation of Jain Puranic literature in languages that evolved over time, starting with Prakrit, then Sanskrit, and later Apabhramsha. The approximate periods for these are: Prakrit (6th to 15th century), Sanskrit (10th to 19th century), and Apabhramsha (10th to 16th century). The peak period for Prakrit, Sanskrit, and Apabhramsha Puranas, in terms of abundance, is considered to be the 12th-13th, 13th-17th, and 16th centuries respectively, with Sanskrit works being the most numerous.

Key features of Jain Puranic literature include initial descriptions of the three worlds, the time cycle, and the emergence of Kulakaras (progenitors). This is followed by descriptions of Jambudvipa and Bharatavarsha, the establishment of sacred places, and lineage expansion. The life story of the relevant figure is then narrated, often including previous births and subsidiary stories, reflecting contemporary folk tales. These narratives contain varying degrees of moral and religious teachings, emphasizing Jain principles, good deeds, renunciation of bad deeds, self-control, austerity, detachment, and the efficacy of karma. The appearance of monks is also a recurring element. The later parts describe the Tirthankara's city, parents' grandeur, conception, birth, extraordinary events, childhood, education, renunciation, penance, hardships, omniscience, congregational assemblies (Samavasarana), religious discourses, travels, and final liberation. Culturally, these texts are significant for showcasing the development of language, depiction of daily life, and customs.

The text then discusses Jain versions of the Ramayana and Mahabharata. The earliest known Jain Purana is Vimal Suri's "Paumacariya" (Padma Charita) in Prakrit, dating back to 530 BC or 473 AD. This work narrates the story of Dasharathi Rama (Padma), the eighth Baladeva, Lakshmana (Vasudeva), and Ravana (Prativasudeva). It presents distinct features from the traditional Ramayana, such as the Vanaras and Rakshasas being human races, Rama's voluntary exile, the absence of the golden deer, Sita's brother Bhamandal, Hanuman's multiple marriages, and the absence of the bridge construction. The style, while containing decorative elements and emotional descriptions, is similar to the Ramayana and Mahabharata.

In Sanskrit, the first Jain Purana related to Rama is Raviṣeṇācharya's "Padma Purana" (735 BC or 678 AD). Similarly, in Apabhramsha, the first available Jain Purana is "Paumacariu" by Svayambhudeva (897-977 BC or 840-920 AD). Following the Ramayana, Mahabharata-related narratives appear in Jain Puranic literature, known as "Harivamsha Purana" or "Pandava Purana." Notable works include Jinseṇa's Sanskrit "Harivamsha Purana" (840 BC or 783 AD) and Svayambhudeva's Apabhramsha "Ritunemi Charita." There is a mention in "Kūbalayamālā" of a Mahabharata-related work by Acharya Vimal Suri in Prakrit. These narratives feature Tirthankara Neminatha, his cousin Vasudeva Krishna, Baladeva, Jarasandha, and the Kauravas and Pandavas, with similarities and differences to traditional accounts.

The text then focuses on the "Adi Srot" (primary source) of Jain myths: Lord Rishabh. Following the Ramayana and Mahabharata in chronological order are the Mahapuranas, which describe the lives of the sixty-three Shalaka Purushas, including the 24 Tirthankaras. Jinseṇa's "Mahapurana" is considered the most important work in Sanskrit in this regard. Its first part, "Adi Purana," was authored by Jinseṇa, and the second part, "Uttara Purana," by his disciple Guṇabhadra. "Adi Purana" details the lives of the first Tirthankara, Lord Rishabh, and his son, the first Chakravarti Bharata, while "Uttara Purana" covers the lives of the remaining Shalaka Purushas.

The narrative describes a time when Bharat Kshetra was a "Bhogbhumi" (land of enjoyment) where wish-fulfilling trees (Kalpavriksha) provided for all needs. However, as time passed, these trees gradually disappeared, leading to increasing difficulties for humanity. To resolve these issues, fourteen "Yugapradhana" leaders, Manavas, or Kulakaras emerged: Pratishruti, Sanmati, Kshemakara, Kshemamvara, Somakara, Simandhara, Vimalavahana, Chakshusman, Yashasvan, Abhichandra, Chandrabh, Marudeva, Prasenajit, and Nabhiraya. These Manavas were more intelligent than ordinary people and used their knowledge to solve societal problems.

Nabhiraya's virtuous wife was Marudevi. During her pregnancy with a radiant son, Nabhiraya's household experienced a shower of gold (hiranya), leading the gods to praise him as "Hiranyagarbha." Upon birth, the child had a bull's emblem on his right foot, hence his name Rishabhanatha or Vrishabhanatha.

Lord Rishabhanatha was born with great knowledge, beauty, strength, compassion, and valor. In his youth, he married the beautiful daughters Nanda and Sunanda. Nanda bore him a hundred sons, including Bharata, and a daughter named Brahmi. Sunanda bore him a powerful son, Bahubali, and a daughter named Sundari.

Lord Rishabhanatha taught people how to cultivate grains and prepare food. He also showed them how to extract and utilize juice from sugarcane, marking the beginning of the Ikshvaku dynasty. He taught them to grow cotton and make clothes, to craft utensils from metals and clay, and imparted knowledge of warfare and craftsmanship. He also explained trade practices and ways of living cooperatively.

Lord Rishabh taught his elder son Bharata the art of drama, suggesting he might be considered an authority on the Natyashastra. He trained Bahubali in wrestling and other sons in politics and strategy.

One day, Lord Adinatha was sitting in a pleasant mood when his daughters Brahmi and Sundari sat on his lap. They requested him to teach them an unfading knowledge. Lord Rishabh instructed Brahmi to extend her right hand, and with his right thumb, he wrote the vowels (a, i, etc.) and consonants (k, kh, etc.) on her palm, teaching her the art of script or writing. This script came to be known as Brahmi lipi.

Sundari, seated on his right knee, was taught numbers (1, 2, 3, etc.) and arithmetic (addition, subtraction, multiplication, division) on her palm with his left thumb. Due to the use of the left hand, the order of writing numbers was explained as reversed from that of letters (starting from the right with units, tens, hundreds, etc.). This is the origin of the reversed order of writing numbers.

Thus, Lord Adinatha created the "Karmayuga" (ways of earning a livelihood through agriculture, crafts, education, trade, etc.). This earned him titles like "Adi Brahma," "Prajapati," "Vidhaata," "Adinath," and "Adisheshvar."

One day, Lord Rishabhanatha, while seated in his royal court, witnessed the death of an Apsara named Nilanjana due to the completion of her lifespan during a dance. This event filled him with detachment. He abdicated his throne to his eldest son Bharata, entrusting him with the entire kingdom and household responsibilities. He also granted some territories to his other sons and left for the forest, renouncing all possessions. He shed his clothes and ornaments and sat in meditation for six months in nudity. During this undisturbed meditation, snakes would crawl over him, and snakes would coil around his neck. His hair grew long, forming matted locks where rainwater collected and flowed for a long time. He later became a symbol of Shiva. After six months of fasting and rigorous penance, when he went to a nearby village for alms, the people were unaware of how to offer food to an ascetic. As he remained silent, he received no food for six months. He continued his penance thus for a year.

After a year, he received proper alms at the palace of King Shreyamsa of Hastinapur. He broke his fast by drinking sugarcane juice. Subsequently, people learned the proper way to offer food to ascetics. After one thousand years of rigorous self-discipline, Lord Rishabh conquered his inner enemies like lust, anger, pride, attachment, envy, desire, and hatred. He also overcame the karma that caused worldly existence, becoming pure, omniscient, and all-seeing. Because he conquered his internal enemies, he became known as "Jina" (conqueror).

At that time, his silence broke, and he began to preach Dharma to the populace. He explained the method of achieving liberation from the cycle of birth and death, and becoming immortal, in a simple and understandable manner. The religion he first propagated became known as Jain Dharma, after his renowned name "Jina." To benefit the general public, gods created a beautiful, round, and vast assembly hall called "Samavasarana." This hall had twelve chambers where gods, goddesses, humans, ascetics, animals, and birds listened to his teachings. In the center of the Samavasarana was a three-tiered altar with a throne. A lotus bloomed on the throne, and the Lord sat upon it. His face was typically oriented towards the east or north, but due to divine miracle, his face appeared in all four directions. This led the common people to call him "Adibrahma seated on a lotus, with four faces." The Lord imparted teachings on the twelve Angas like Acharanga, and the four Anuyogas. His eldest disciple and son, Vrishabhasena, who documented his teachings, was his first Ganadhara (chief disciple). After Vrishabhasena, eighty-three more Ganadharas followed.

Lord Rishabh spent a long time propagating the path to liberation and then resided on Mount Kailasa for self-realization. There, he destroyed the remaining karmic enemies through the "Trishula" (trident) of right faith, right knowledge, and right conduct. He became known as "Kailaspati" (Lord of Kailasa). The people residing in the mountains considered him their Lord, hence he was also called "Parvatipati" (Lord of Parvati).

The text then mentions Bharata's world conquest. Lord Rishabh's elder son, Bharata, ruled the kingdom justly and ethically for many years. Later, he embarked on a conquest with his vast army and the divine weapon "Chakra," becoming the first Chakravarti Samrat. The collective name of the lands, "Bharat Kshetra," and the country's name, "Bharat," became famous after him. This assertion is supported by other non-Jain Puranas and scriptures. The Vedas respectfully mention Lord Adinatha as Rishabha, Vrishabha, and Hiranyagarbha. The Shiva Purana also narrates Rishabha's life. The Bhagavata Purana (First Canto, Third Chapter) lists Rishabha as the eighth avatar among Vishnu's 22 avatars, and his parents are named Marudevi and Nabhiraya.

The text draws parallels with Islamic traditions, suggesting that "Adam" is an Apabhramsha form of Adinatha. The first man in Islam, Adam, is identified as Lord Rishabhanatha, also known as Adinatha. A reference is made to the Islamic concept of Nabi's son Rasul, who delivered divine teachings, implying that Nabi (Nabhi) had a son Rasul (Rishabh), who was the first religious preacher to humanity.

The origin of the name "Bharat" for the country is attributed to Lord Adinatha's eldest son, Chakravarti Bharata. This is supported by the Markandeya Purana (Chapter 12) and Narada Purana (Chapter 48). The Vishnu Purana (Part 2, Chapter 1) states that Bharata, the eldest of Rishabha's hundred sons, gave his name to Bharatavarsha.

Finally, the text concludes by stating that Lord Rishabh's life embodies not only Jain myths but also numerous other mythical elements of Indian culture, such as the concept of Hiranyagarbha, Brahma, Prajapati, Shiva (trident-bearer, Ganga-holder in his matted locks, Parvatipati), Bharata's Natyashastra and his name, and the origin of Brahmi script and numerical systems. Therefore, the life of Jain Tirthankara Lord Rishabh can be considered the primary source of Jain myths and also a source for Indian myths in general.