Jain Paramparanu Apbhramsa Sahitya Ma Pradan

Here is a comprehensive summary in English of the Jain text "Jain Paramparanu Apbhramsa Sahitya ma Pradan" by H. C. Bhayani:

This article, "Jain Paramparanu Apbhramsa Sahitya ma Pradan" (Contribution of the Jain Tradition to Apabhramsa Literature) by Prof. Harivallabh Chunilal Bhayani, explores the significant and extensive contribution of the Jain tradition to the development of Apabhramsa literature in India.

Key Points:

• Dominance of Jain Literature in Apabhramsa: The author asserts that Apabhramsa literature is overwhelmingly Jain literature. While Buddhism and Brahmanism have minor contributions, Jain authors were the primary creators of sophisticated and diverse works in this language. This statement is qualified by the acknowledgment that further discoveries might change this picture, but based on currently available texts, the Jain contribution is paramount.
• Apabhramsa as a Poetic Medium: A striking characteristic of Apabhramsa literature is its near-exclusive existence in verse form. Prose in Apabhramsa is negligible. This poetic nature is attributed to the specific circumstances of Apabhramsa's origin and development.
• Nature of Apabhramsa Language: Apabhramsa is described as a literary language that, while retaining major features of the preceding Prakrit, incorporated grammatical structures, idioms, and vocabulary from evolving vernacular dialects. This gave it flexibility and prevented it from becoming rigid, a common fate of older literary languages. It emerged under the influence of Sanskrit and Prakrit, benefiting from continuous contact with living spoken languages.
• Origin and Early Development: The exact origins of Apabhramsa language and literature remain obscure, with much early literature likely lost. However, it is understood that by the 6th century CE, Apabhramsa had established itself as an independent literary language, mentioned alongside Sanskrit and Prakrit. The oldest surviving Apabhramsa works date from the 9th century CE, implying a substantial body of lost literature preceding this period. Evidence suggests the emergence of new literary forms like Sandhibandha (narrative poems with distinct sections) and Rasabandha (emotional lyrical poems), along with new metrical patterns during the Apabhramsa period.
• Key Literary Forms:
  • Sandhibandha: This was the most prevalent form, used for diverse narrative content including Puranic epics, biographical poems, and religious stories.
    • Svayambhu: Considered a foremost Apabhramsa poet (7th-10th century CE), Svayambhu's works are the earliest available substantial evidence of Sandhibandha. His epics, Paumacariya (based on the Ramayana narrative, also known as Ramayanalanalam) and Rinmirinic (based on the life of Arishtanemi, the 22nd Tirthankara, also known as Harivanshapurana), are significant. Paumacariya is notable for its Jain interpretation of the Ramayana story and its structure, divided into five kandas (cantos) and further into sandhis (sections) and kadavakas (poetic units). The kadavaka is identified as a precursor to the modern Gujarati kadva. Svayambhu's works are also valuable for their citations of earlier Prakrit and Apabhramsa literature. He is believed to have belonged to the Yapaniya Jain sect. His son, Tribhuvan, completed some of his works.
    • Pushpadanta: Another prominent Apabhramsa poet (957-972 CE), Pushpadanta's works include Mahapurana (also known as Trishashtishalaka-purushacharitam), which narrates the lives of the sixty-three great men of Jain tradition. He also authored biographical poems like Jayakumaracarita and Harivamsa. Pushpadanta's poetry is characterized by its richness in alamkara (ornaments of poetry), metrical variety, and learned style, drawing inspiration from Sanskrit epic traditions. His Mahapurana is considered a significant work for its comprehensive depiction of Jain cosmology and narratives.
  • Rasabandha: This was another independently developed and popular literary form in Apabhramsa. It is thought to be a lyrical, emotional poem of moderate length, analogous to Sanskrit khandakavya. While definitions of Rasaka are found in early Prakrit-Apabhramsa literature, no ancient Rasabandha works have survived by name, which is noted as surprising. Later Rasas are more commonly found in Gujarati-Rajasthani literature, many by Jain authors.
  • Unbound Compositions: Besides structured forms, Apabhramsa also utilized unbound compositions. Examples include Neminaracita by Haribhadra (1150 CE), composed entirely in the Raddaa meter, and a Krishna epic by Govinda in various Raddaa meters.
  • Religious and Spiritual Works: The literature also includes religious and instructive compositions. Particularly important are Paramappappayasu and Yogasara by Yogindudev (also known as Joindu), which expound spiritual and yogic philosophies in dohas. These works emphasize self-realization, detachment from worldly pleasures, and the importance of inner purity. Ramachandra's Rohamaamaala is also a significant spiritual work focusing on the distinction between body and soul and the union with the Supreme Soul. These works are considered valuable contributions of Jain tradition to Indian mystical literature.
  • Minor Religious Works and Fragments: The article also mentions smaller religious works and numerous Apabhramsa fragments found within Jain Prakrit and Sanskrit texts, commentaries, and other scholarly works.
• Later Trends and "Sandhi": Around the 13th century CE, a new form called "Sandhi" emerged, referring to shorter Apabhramsa poems with a few kadavakas, often based on narratives or teachings from Jain Agamas or earlier literature. The influence of contemporary vernacular dialects became increasingly evident in later Apabhramsa works, though the Apabhramsa literary tradition itself continued until the 15th century and beyond.
• Overall Significance: Despite limitations in scope and subject matter, Jain Apabhramsa literature holds a significant and esteemed position in the history of Indian literature due to its creation of new literary and metrical forms, adherence to established poetic traditions, mastery of description, and skill in evoking rasa (aesthetic sentiment).