Jain Sahitya Ka Bruhad Itihas Part 6

This comprehensive summary of "Jain Sahitya Ka Bruhad Itihas Part 6" focuses on the Kavya Sahitya (Poetic Literature) of Jainism, as authored by Dr. Gulabchandra Chaudhary and edited by Pt. Dalsukh Malvania and Dr. Mohanlal Mehta. Published by Parshwanath Shodhpith Varanasi, this is the second edition from 1998.

The book delves into the vast and diverse poetic literature produced by Jain scholars in Prakrit and Sanskrit over approximately 2500 years, from the time of Lord Mahavir until the end of the 20th century. It categorizes and analyzes this literature to understand its evolution, themes, styles, and influences.

The summary can be broken down into the following key sections discussed in the text:

1. Introduction (Prastavik):

• Definition of Jain Poetic Literature: It encompasses works that adhere to classical poetics, including epic poems (Mahakavya), narratives (Katha, also referred to as Kavya in Prakrit), and various other forms like drama, lyrical poetry, etc.
• Scope of the Book: This particular volume (Part 6) focuses on Prakrit and Sanskrit works, with Apabhramsha and other languages to be covered in subsequent volumes.
• Classification of Jain Literature: The text briefly touches upon the broader classification of Jain literature into Agamic, Anu-agamic, and Agam-etar literature, noting that Agam-etar literature, particularly Dharmakathanuyoga, forms the basis for Jain poetic and narrative works.
• The concept of Prathamanuyoga: This section explains the origin and revival of Prathamanuyoga (the study of primary narratives), which focused on the lives of great souls, including Tirthankaras and other important figures like Chakravartis and Narayanas. It highlights figures like Acharya Aryarakshita and Kalaka for their roles in preserving and compiling this literature.

2. Contextual Factors:

• Historical and Political Circumstances: The text emphasizes the need to understand the political, social, and literary landscape of the times in which Jain literature was composed. It discusses the political fragmentation of India after the Gupta period, the influence of various dynasties like the Ganas, Kadambas, Chalukyas, Rashtrakutas, and the patronage of Jainism by rulers in regions like Malwa, Rajasthan, Gujarat, and South India. It also mentions the impact of Muslim rule and the tolerance shown by emperors like Akbar and Jahangir.
• Religious Circumstances: The period saw the rise of a new Puranic Brahmanism, the spread of Mahayana Buddhism, and the increasing influence of Tantric traditions. Jainism absorbed certain elements like mantra-vidya and developed narratives around guardian deities and the glorification of Tirthankaras through devotional hymns. The concept of Vastivas (settled monastic life) also influenced the close interaction between monks and lay followers, leading to the development of literature catering to a wider audience.
• Social Circumstances: The text discusses the increasing rigidity of the caste system, the rise of superstition, and the gradual shift in societal norms. It highlights the significant role of the Vaishya community in patronizing Jain literature and the engagement of Jain scholars and householders in literary pursuits.
• Literary Conditions: The post-Gupta era saw the flourishing of Sanskrit literature, with the development of sophisticated poetic styles. Jain scholars actively participated in this, composing works in Sanskrit, Prakrit, and later, Apabhramsha and other regional languages, often drawing inspiration from contemporary literary trends and imitating the styles of prominent poets like Kalidasa, Bharavi, and Bana.
• Motivations for Literary Creation: The primary motivations included:
  • Religious Sentiment: Spreading Jain teachings and fostering devotion through engaging narratives.
  • Inspiration from Various Sections of Society: Patronage from royalty, wealthy merchants, and the requests of the monastic community.
  • Inter-Gacch Rivalry: A sense of competition among different Jain monastic lineages (gachhas) to create and patronize literature.
  • Role Models: Drawing inspiration from the lives of influential historical and contemporary figures.
  • Imitation of Styles: Emulating the grand styles of classical Sanskrit poets.
  • Religious Generosity and Tolerance: A willingness to engage with and appreciate non-Jain themes and authors.

3. Types of Jain Poetic Literature: The book then systematically analyzes the different genres within Jain poetic literature:

• Mythological Mahakavyas (Pauranik Mahakavya):

  • Characteristics: Primarily based on the lives of Jain Shalaka Purushas (Sixty-three Great Persons), including Tirthankaras, Chakravartis, Narayanas, Baladevas, and Pratinarayanas. These are often named Purana, Charita, or Mahatmya. Their core purpose is religious instruction, with aesthetic elements serving the Dharma. Karma-phala (the results of karma) is a recurring theme, often illustrated through previous births.
  • Representative Works and Their Influence:
    • Ram-related Mahakavyas: Focuses on Vimalasuri's Paumachariyam (Padmacharita) in Prakrit, considered the earliest Jain Mahakavya. It contrasts with the Brahmanical Ramayana, portraying characters like Ravana and Hanuman as civilized humans, and details unique plot points like Rama's voluntary exile and Sita's relationship with Bhamandala. It also discusses its cultural and historical significance. Other works like Sitacharita and Ramalakshmanacharitra are also mentioned.
    • Mahabharata-related Mahakavyas: Highlights Jinasena's Harivanshapurana in Sanskrit. This work is significant for its comprehensive narrative, encompassing cosmology, genealogy, political science, and the lives of Tirthankaras and Shalaka Purushas within the framework of the Harivamsha lineage. It is noted for its detailed portrayal of Vasudeva and Krishna, and its conclusion with the Vrishni dynasty's downfall and Neminatha's renunciation.
    • Mahapurana-related Mahakavyas: Discusses Jinasena and Gunabhadra's Mahapurana (Adi-purana and Uttara-purana), a monumental work detailing the lives of the sixty-three Shalaka Purushas. It is considered a compendium of Jain teachings and history. Other related works like Puransarasangraha and Chaturvinshati Jinendracharita are also mentioned.
    • Mahakavyas based on the Sixty-three Shalaka Purushas: This section delves into numerous independent works that focus on the lives of the Shalaka Purushas, often in chronological order. It lists and briefly describes works related to Adinatha, Sumatinatha, Padmaprabha, Suparshvanatha, Chandraprabha, Shreyansanatha, Vasupujya, Vimalanatha, Anantanatha, Dharmanatha, Shantinatha, Kunthunatha, Arananatha, Mallinatha, Munisuvrata, Neminatha, Parshvanatha, and Mahavira. It notes the influence of earlier works like Mahapurana and Paumachariyam on later compositions.
    • Works based on specific Tirthankaras: This is a major part of the section, detailing works dedicated to individual Tirthankaras, with a particular emphasis on Shantinatha (due to his Cakravarti status), Neminatha, Parshvanatha, and Mahavira. It lists numerous Sanskrit and Prakrit works, their authors, approximate dates, and key features. For instance, works on Parshvanatha are numerous due to his importance and the numerous legends associated with him.

• Katha Sahitya (Narrative Literature):

  • Characteristics: This section covers a broad range of narrative works, including didactic stories, collections of tales, travelogues, and folklore. Jain Katha literature is known for its moralistic and didactic purpose, often illustrating Jain principles like karma, non-violence, renunciation, and the importance of good conduct.
  • Categories:
    • Didactic Story Collections (Aupadeshik Katha-Sangrah): These are primarily found in commentaries and treatises by Jain scholars, serving to illustrate specific points of conduct or doctrine. Works like Upadeshamala, Upadeshamala Prakarana, and Upadesharatnakara are highlighted for their extensive collections of stories.
    • Independent Narrative Works (Katha Sahitya ki Swatantra Rachnayein): This is a vast category.
      • Hero-centric Narratives: Focusing on male protagonists like Samaraichchakaha by Haribhadra Suri, which is a monumental work detailing nine lives of two main characters, highlighting the cycle of birth and karma.
      • Heroine-centric Narratives: Mentioning works like Tarangavati (or Tarang Lola), Anjanasundari Charita, and Rohini Katha.
      • Tales related to Pilgrimage Sites (Tirthamahatmya-vishayak Kathayein): Works glorifying the sanctity and spiritual benefits of visiting Jain pilgrimage sites.
      • Tales related to Festivals and Worship (Tithiprava-puja-stotra-vishayak Kathayein): Narratives explaining the significance and merits of observing specific Jain festivals and rituals.
      • Folk Tales and Fairytales (Parikathayein, Mugdha Kathayein): Stories that blend secular themes with moral or spiritual lessons, often incorporating elements of adventure, romance, and the supernatural.
    • Ethical Literature (Nitikatha Sahitya): Stories emphasizing moral conduct, virtues, and the consequences of vices.

• Historical Literature (Aitihasik Sahitya):

  • Characteristics: This section covers literature that, while sometimes incorporating legendary elements, aimed to record historical events, biographies of influential figures, and the history of monastic lineages.
  • Categories:
    • Historical Mahakavyas: Works that narrate historical events in a poetic format, often with a focus on kings and patrons. Examples like Gauḍavaho, Navasāhasāṅkacarita, and Dvayaśraya Mahākāvya are discussed.
    • Prabandha Literature: A significant genre focusing on biographical narratives of influential individuals, often ministers, merchants, and scholars. These works are crucial for understanding the social, political, and economic history of the period. Key examples include Vastupala-Tejpal Charita, Sukṛtsaṅkīrtan, Vasantavilāsa, Kumārapālabhūpālcharita, Hummīramahākāvya, Kumārapālacharita, Vastupala Charita, Jagḍūcharita, Sukṛtsāgara, and Pethaḍacharitra. The Prabandha style often blends history with legend and poetic embellishment.
    • Inscriptions and Eulogies (Prashastis): These are crucial historical documents inscribed on stone or metal, often commemorating royal deeds, temple constructions, or donations. They provide direct evidence of rulers, dates, and socio-political conditions. The text highlights inscriptions related to Vastupala and Tejpal, and others related to donors, patrons, and scribes.
    • Lineages and Succession Records (Paṭṭāvalī and Gurvāvalī): These records document the succession of monastic leaders and the history of various Jain monastic orders (gachhas). They are invaluable for understanding the institutional history of Jainism, the transmission of knowledge, and the geographical spread of different schools. Numerous examples from various gachhas are listed.
    • Travelogues (Tīrthamālās): Descriptions of Jain pilgrimage sites and the journeys undertaken to them, providing geographical, religious, and sometimes historical information.
    • Edicts and Letters (Vijñaptipatra): Official pronouncements or letters issued by monastic leaders or lay patrons, often containing historical and administrative information.

• Lalita Vangmaya (Fine Arts and Literature):

  • Classical Mahakavyas: This section discusses works that strictly adhere to classical poetic conventions, including those classified as Riti-mukta (unbound by strict rules), Riti-baddha (bound by rules), Shastra-kavya (works combining poetry with philosophical or grammatical treatises), and Bahvarthaka-kavya (works with multiple layers of meaning or complex wordplay, like Dvisandhana and Saptasandhana). Authors like Ashvaghosha, Kalidasa, Bharavi, Magha, and Jain authors like Jinasena, Harishchandra, and Pushpadanta are discussed.
  • Gadyakavya (Prose Poetry): This includes works like Tilakamanjari by Dhanapala and Gadyachintamani by Vadiratnasuri.
  • Campu Kavya (Mixed Prose and Poetry): Works like Kuvalayamala by Udyotanasuri and Yashastilakachampu by Somadevasuri are highlighted.
  • Duta Kavya (Messenger Poetry): Lyrical poems where a messenger conveys a message, like Jain Meghaduta and Nemiduta.
  • Gitika Kavya (Lyrical Poetry): This includes devotional songs and short lyrical pieces.
  • Nataka (Drama): Jain dramas are discussed, with examples like Satyaharishchandra, Nalavilas, and Mallikamakandar.

The book provides detailed analyses of specific works, authors, their historical context, literary merits, and their contribution to Jain literature and Indian cultural history. It emphasizes the vastness and richness of Jain poetic output, showcasing its intellectual depth, aesthetic beauty, and enduring legacy. The text also highlights the interconnectedness of Jain literature with broader Indian literary traditions.