Jain Prakrit Katha Lekhakancha Stree Vishayak Drushtikon

Here's a comprehensive summary of the Jain Prakrit Katha Lekhakancha Stree Vishayak Drushtikon (Jain Prakrit Story Writers' Perspective on Women) by Nalini Joshi, based on the provided text:

This research paper, presented at a seminar on 'Feminist Critique of Indian Thought on Women' in 2013, explores the portrayal of women in Jain Prakrit story literature, specifically from the 4th to the 12th century CE. The author, Dr. Nalini Joshi, challenges the conventional view that Jainism, particularly the Digambara tradition, relegated women to a secondary status due to its emphasis on renunciation and nudity for liberation.

Key Arguments and Observations:

• Challenging the Conventional View: The paper argues that judging Jainism's stance on women solely based on the criterion of liberation (moksha) is an oversimplification and an injustice to the story writers. Instead, it advocates for examining the rich narrative literature produced during a significant period.

• Absence of Female Authorship: The author acknowledges that all the story literature from this period was written by male Jain monks (Acharyas). However, she argues that this does not inherently imply female subordination. The reasons for the absence of female authors are attributed to:

  • Lack of Formal Education: Similar to other ancient Indian literature, formal education was primarily denied to women.
  • Demographics within the Jain Sangha: While women (sadhvis and shravikas) were numerically significant, the male monastic order (sadhus) was generally more academically inclined due to earlier and continuous religious education.
  • Language: The prevalence of Jain Maharashtri as the literary language, developed and used by Acharyas from regions outside Maharashtra, made it less accessible to women from other areas.

• Rich and Diverse Portrayal of Women: Despite being written by men, the Prakrit stories depict a wide spectrum of female characters and their experiences. The author highlights that these stories are not merely theoretical but reflect real-life interactions and observations.

  • Everyday Life and Relationships: Women are portrayed in various roles: daughters, sisters, wives, mothers, daughters-in-law, sisters-in-law, co-wives, aunts, etc. Their interactions, emotions, and the complexities of human relationships are depicted with subtlety and depth.
  • Realistic Portrayal: The writers avoided extreme condemnation or excessive praise of women. They are shown to possess both virtues and vices, just like men. The stories strive for a balanced and neutral portrayal.
  • Source of Stories: The authors likely drew inspiration from their interactions with Jain laywomen (shravikas) who provided them with stories, posed questions, engaged in dialogues, and sought spiritual guidance.

• Social Context and Nuance: The paper examines several key aspects of women's lives as depicted in these stories:

  • Marriage Age and Husband-Wife Relations: Child marriage is almost absent. Marriages are shown to occur after maturity, with mutual understanding and often friendly relations between spouses. Advice from wives is often valued and implemented.
  • Widows and Remarriage: While many widows and abandoned women became religious devotees, some stories suggest progressive attitudes towards remarriage, even contemplating it as a viable option.
  • Political Participation: Women are shown to have a positive and active role in political matters, offering advice to kings, demonstrating intelligence in court, and even engaging in espionage.
  • Arts and Education: While formal education for women is rare, they are depicted as proficient in various arts and skills like music, dance, poetry, painting, debate, and even chariot driving and horse riding. Their inherent intelligence and practical wisdom are often highlighted.
  • Inter-caste and Inter-religious Marriages: The stories present several instances of unions that transcend caste and religious boundaries, often with the support of families, indicating a degree of religious and social tolerance.
  • Justice System: Women are shown seeking justice in royal courts, and their complaints are heard and addressed impartially, highlighting a generally fair judicial system.
  • Female Deities: The stories incorporate female deities who embody maternal qualities, power, and wisdom, reflecting societal perceptions and expectations.
  • Life and Sexuality: The narratives acknowledge women's desires and emotions, including their sexuality, in a realistic and non-judgmental manner. The complexities of desire and its impact on relationships are explored.
  • Sexual Violence and Retaliation: The stories address sexual violence and portray women who bravely confront their attackers, sometimes with severe retaliation. The societal consensus often favored harsh punishment for perpetrators.
  • Prostitution: The lives of courtesans and prostitutes are depicted with empathy, exploring the reasons for their profession and the societal structures surrounding it, including the concept of "human trafficking."
  • Economic Independence and Rights: While details for lower strata are scarce, it's evident that women could receive gifts (priti-dan) at marriage, manage their own property, and engage in economic activities, sometimes independently supporting their families.
  • Intelligence and Cunning: Women are portrayed with both sharp intelligence (chaturya) and cunning (dhurtta). The stories differentiate between the ethical use of intelligence for good and its manipulative use for selfish gain, showcasing women's capabilities in both.

• Rejection of Stereotypes: The author emphasizes that the Jain Prakrit story writers rejected the "husband as god" trope. Women are presented as capable individuals and true companions rather than merely followers.

• Progressive Portrayal Compared to Some Agamas: The paper suggests that in some instances, the portrayal of women in later Jain Maharashtri literature appears more evolved than in the earlier Ardhamagadhi Agamas.

• Universal Appeal: The women depicted are not limited to the Jain community but represent women from the broader society, making the literature a valuable resource for understanding ancient Indian women's lives and perspectives.

Conclusion:

Dr. Nalini Joshi concludes that the Jain Prakrit story literature offers a nuanced and often progressive view of women, contrary to the simplistic notion of inherent subordination. The authors, despite being men, managed to portray women with remarkable depth, empathy, and complexity, highlighting their multifaceted roles and capabilities in society. The study argues that overlooking this body of literature would mean missing a crucial dimension of Indian thought on women.