Jain Rasa Kavya Ek Adhyayan

Here's a comprehensive summary of the provided Jain text, "Jain Rasa Kavya: Ek Adhyayan" by Dr. Vijay Kulshreshth:

The book "Jain Rasa Kavya: Ek Adhyayan" (A Study of Jain Rasa Poetry) by Dr. Vijay Kulshreshth delves into the rich tradition of Rasa poetry within Jain literature, challenging earlier historical assessments of Indian literature and highlighting the significant contributions of Jain authors.

Critique of Early Literary History: The author begins by addressing the historical debate surrounding the "Adikal" (early period) of Hindi literature, particularly referencing the influential literary historian Pt. Ramchandra Shukla. Shukla's classification of this period as "Veergatha Kal" (Heroic Ballad Period) and his exclusion of Siddha, Yogi, and Jain monastic writings from the purview of literature are critically examined. Shukla considered Jain works primarily religious and sectarian, and acknowledged only Apabhramsa (a precursor to Hindi) as the language of the period, with a focus on secular content. Kulshreshth argues that Shukla's perspective, while important, was limited by his inability to fully appreciate the literary merit of Jain compositions, many of which were written in Apabhramsa and its immediate successor.

The Prominence of the "Ras"/"Raso" Form: The study emphasizes the prevalence and significance of the "Ras" or "Raso" poetic form in the early period of Hindi literature and the preceding eras. The etymology of "Raso" is traced back to the Sanskrit word "Rasak." The author notes that despite the abundance of "Raso" works, scholarly attention to this tradition has been relatively limited until recent times. Dr. Harish's work "Aadikal Ke Agyat Raaskavya" is mentioned for bringing some Rasa compositions to light, and Dr. Suman Raje's research is credited with identifying over two hundred Rasa works. Kulshreshth himself, through his extensive research, has gathered information on nearly seven hundred such works, presenting them chronologically to illustrate the vast tradition.

Two Streams of Rasa Poetry: The study identifies two distinct streams within the broader Rasa poetic tradition:

1. Jain Rasa Kavya Dhara (Jain Rasa Poetry Stream): This is the primary focus of the book.
2. Jainetar Rasa Kavya Dhara (Non-Jain Rasa Poetry Stream): This refers to Rasa poetry composed by non-Jain authors.

The Vastness and Classification of Jain Rasa Poetry: Kulshreshth asserts that Jain literature is not merely religious or sectarian as previously categorized. He argues for a more nuanced understanding, placing Jain Rasa compositions within a broader literary framework. The book then presents an extensive list of Jain Rasa works, numbering over 300, along with their approximate composition periods and authors. This list demonstrates the sheer volume and chronological spread of Jain Rasa poetry.

The author proposes a classification of these Jain Rasa works based on their thematic content:

• Character-based Poetry (Charitra Kavya):
  • Rasa poems narrating the lives of ascetics and monks.
  • Rasa poems detailing the lives of Tirthankaras.
  • Rasa poems focusing on the glory of pilgrimage sites.
• Moral and Ethical Poetry (Niti evam Achar Vishayak Rasa Kavya):
• Ritual and Devotional Poetry (Vrat evam Upasana ke Vidhi-Vidhanparak Rasa Kavya):
• Mythological Story-based Rasa Poetry:
  • Rasa poems based on the Ramayana.
  • Rasa poems based on the Mahabharata (specifically Krishna's stories).
• Exciting/Thrilling Rasa Poetry (Romanchak Rasa Kavya):
• Satirical and Humorous Rasa Poetry (Vyangya-Vinodparak Rasa Kavya):

Key Figures and Development: The study highlights Muni Jin Vijay Maharaj's view that the Jain Rasa tradition originated with Shilibhadra Suri's "Bharteshwar Bahubali Ras" (dated to 1184 CE, though Kulshreshth suggests an earlier date of 1141 CE). Beyond Rasa, Jain poets also utilized other poetic forms like Fagu, Charu, Kahā, and Charchari.

The "Ras" as a Popular and Performing Art Form: A crucial aspect of the study is the cultural significance of Jain Rasa poetry. It was not merely recited but actively performed. Jain lay followers (Shravaks) would sing these Rasa compositions in Jain temples at night, accompanying them with rhythmic clapping and bodily movements. This practice was prevalent until the 14th century before being restricted to purely musical renditions. The book posits that "Ras" was the most popular creative genre in Jain literature.

Adaptation of Other Traditions: Interestingly, some Jain poets adapted stories from the Ramayana and Mahabharata, particularly the characters of Rama and Krishna, reinterpreting them within the framework of Jain philosophical principles and beliefs.

Call for Further Research: The author concludes by stressing the urgent need for a critical evaluation of the artistic and poetic qualities of these Rasa works. He suggests that a well-organized research project dedicated to this task could open new avenues for scholarly inquiry. The study posits that some of these Rasa works, despite their religious context, possess excellent artistic value, particularly in their narrative and exciting styles.

In essence, "Jain Rasa Kavya: Ek Adhyayan" is a significant contribution to the understanding of early Indian literature, championing the literary importance of Jain Rasa poetry and its rich tradition, which was previously underappreciated by mainstream literary history. It serves as a testament to the extensive literary output of Jain scholars and their unique artistic contributions.