Jain Sahitya Me Ram Bhavna - Book Summary

Here's a comprehensive summary in English of the Jain text "Jain Sahitya me Ram Bhavna" by Dr. Shashirani Agarwal:

Jain Sahitya me Ram Bhavna (The concept of Rama in Jain Literature)

This scholarly work by Dr. Shashirani Agarwal explores the multifaceted portrayal of Rama within Jain literature, highlighting its unique interpretations and divergences from the more prevalent Hindu narratives. The book emphasizes that Jainism, like Buddhism, is one of the most ancient Indian philosophical systems, not accepting the Vedas as proof, and contends that Jainism is as old as Vedic religion itself.

The Jain Interpretation of the Rama Narrative:

The author begins by establishing that the Rama story is not exclusive to Hinduism but also found considerable popularity in Buddhist and Jain traditions. Following the composition of the Valmiki Ramayana, a vast body of religious and aesthetic literature centered on Rama emerged in Sanskrit. This popularity attracted Buddhists and Jains, who, in an effort to propagate their own religions in competition with Hinduism, began creating their own religious epic narratives.

A key aspect of this Jain adaptation was the adoption of the revered figures of Rama and Krishna from Hinduism, but reinterpreting them as followers of Jainism. The primary objective of these Jain poets was to foster respect for Jainism in society and to view various deities as manifestations of Rishabhadeva (the first Tirthankara). This was part of a broader religious strategy.

Two Main Streams of Jain Rama Literature:

Jain literature presents two primary streams of the Rama narrative:

The tradition of Vimal Suri: This stream is followed by Raviṣeṇa and Svayambhū. The Kannada tradition also draws from Vimal Suri's storyline. This narrative is very close to Valmiki's Ramayana. The Shvetambara sect primarily follows Vimal Suri's version.
The tradition of Acharya Guna bhadra: While the Shvetambaras favor Vimal Suri, the Digambara sect also acknowledges Guna bhadra's tradition, often giving it greater importance. Puṣpadanta's "Padmapurana" belongs to Guna bhadra's tradition.

Jain Rama poetry, following Vimal Suri's lineage, has been composed in Prakrit, Sanskrit, Apabhramsa, Rajasthani, and Kannada. Vimal Suri's tradition spans from the first century CE (the composition of "Paumacariya") to the late 20th century, while Guna bhadra's tradition flourished from the 8th to the 13th century CE.

Key Distinctions in Jain Rama Lore:

The Concept of Trishashthi Shalaka Purushas: Jainism posits a cyclical view of time (Utsarpiṇī and Avsarpiṇī) in which sixty-three "Shalaka Purushas" (distinguished individuals) are born in each cycle. These include twenty-four Tirthankaras, twelve Chakravartis, nine Baladevas, nine Vasudevas, and nine Pratīvasudevas. Rama, Lakshmana, and Ravana are identified within this framework.
Rama, Lakshmana, and Ravana's Roles: In Jain tradition, Rama is the eighth Baladeva, Lakshmana is the Vasudeva, and Ravana is the Prati-vasudeva. This is a significant departure from Hindu tradition. Consequently, in Jain texts, Ravana is killed not by Rama but by Lakshmana.
Color and Name Variations: This reversal in roles also brings about a change in attributes. Jain texts describe Lakshmana as dark-complexioned, while Rama is given the name "Padma" and is considered fair-complexioned. This contrasts with the Hindu tradition, which often describes Rama as dark. Dr. Ramesh Kuntal Megh notes that Rama in Jain tradition embodies the qualities of clouds in terms of color, love, and compassion.
Pre-birth Narratives (Pūrvajanma): Jain Rama literature places considerable emphasis on the previous births of the main characters.
- Vimal Suri's "Paumacariya": Describes Rama's three previous births as Dhanada (a merchant's son), Nayananda (a Vidyadhara prince), and Shri Chandrakumar (a prince). Lakshmana was previously Dhanada's brother Vasudatta and later appeared as a deer.
- Guna bhadra's "Uttarapurana": Portrays Rama and Lakshmana as close friends in a previous life, not brothers. Lakshmana was Chandrachul, son of King Prajapati, and Rama was Vijaya, son of a royal minister. They were condemned to death but were taken to a sage who prophesied their future roles as Vasudeva and Baladeva. They then took religious vows and were reborn as deities before appearing as Lakshmana and Rama.
- Puṣpadanta's "Mahapurana": The pre-birth narratives of Rama and Lakshmana in Puṣpadanta's work are similar to those in Guna bhadra's "Uttarapurana." Svayambhū's "Paumacariya" also follows this Jain understanding of past lives.
Mothers' Dreams and Divine Conception: Jain texts, particularly "Paumacariya," detail the auspicious dreams of Rama's mothers (such as Aparajita or Subala) which signify the birth of a great soul, not a divine avatar. The absence of rituals like sacrificial yajnas in Jain narratives, unlike Hindu traditions, further supports this portrayal of Rama as a great human being, not an incarnation.
Family Relationships:
- Bharata and Shatrughna: Vimal Suri's "Paumacariya" first describes Bharata and Shatrughna as twins. Later texts sometimes portray them as brothers. In Guna bhadra's "Uttarapurana," Bharata is considered younger than Lakshmana.
- Sita: In "Paumacariya" and most other Jain Ramayanas, Sita is Janaka's daughter. However, in Guna bhadra's "Uttarapurana" and Vasudevahindi, she is considered Ravana's daughter. The name "Sita" is explained as deriving from "Gunaśasya" (grain of virtue) due to its abundance in Janaka's daughter and its resemblance to the earth.
Marital Life: Contrary to Valmiki's portrayal of Rama as devoted to his own wife, Jain belief suggests Rama had multiple marriages. Puṣpadanta's narrative states Rama had seven wives besides Sita, and Lakshmana had sixteen. Guna bhadra's "Uttarapurana" mentions eight thousand wives for Rama. Vimal Suri's "Paumacariya" lists Sita, Prabhāvatī, Ratirāgā, and Śrīdāmā among Rama's eight thousand wives. Lakshmana is said to have sixteen thousand wives. This is explained as a reflection of the practice of Kshatriya kings taking all eligible women from conquered territories as wives.
Rama's Character: Rama is consistently depicted as simple, honest, and deeply devoted to Jainism. He shows great interest in visiting and providing alms to Jain monks. The text provides examples of Rama and Lakshmana interacting with sages, removing obstacles faced by them, and constructing numerous Jain temples. Rama's encounter with the vulture Jatayu is also reinterpreted, with Rama naming the bird and imparting the Namokar mantra to it.
Impact of Jain Principles: The alterations in the Rama narrative are attributed to the poets' desire to promote Jainism. Jain Rama's are non-violent but not cowardly. They are shown defeating enemies and upholding righteousness. The poets strive to present a rational and believable narrative, often incorporating Jain philosophical tenets like the theory of karma and rebirth.
Humanity of the Characters: A crucial aspect is that Jain poets portray Rama and other characters as humans, not as divine beings. Even figures like Ravana are presented with human qualities and motivations. This approach leads to a more grounded and relatable depiction. For instance, upon discovering Sita's absence, Rama faints in "Paumacariya," showcasing a human vulnerability not always emphasized in Hindu narratives.
Ravana's Portrayal: Unlike the Hindu tradition that casts Ravana as a demon, some Jain poets elevate him to a position of prominence, even composing works like "Ravana-Mandodari-Samvad" to highlight his positive qualities. Some Jain interpretations suggest Ravana's religious devotion surpassed even Rama's during certain periods.
Vidyadhar, Rakshasa, and Vanara: Jain teachings view the Vidyadhara, Rakshasa, and Vanara races as different branches of humanity, with the ability to change forms and fly. The origins of Vidyadharas are traced back to Nami and Vinami, sons of Rishabhadeva. The Vanaras are named due to their monkey insignia, and the Rakshasa lineage arose from a powerful son named Meghavahana.
Reinterpretation of Events: Events like Hanuman's flight across the ocean are considered impossible and laughable by some Jain scholars like Haribhadra and Amitagati. Jain poets like Brahm Jiṇadāsa and Sundaradāsa have re-imagined Hanuman's stories.
Deities as Humans: Even Hindu deities like Indra are depicted as humans who eventually embrace Jainism. Hanuman and Vibhishana, in some Jain narratives, attain liberation through Jain asceticism.
Sita's Spiritual Journey: Sita, from childhood, is shown as a devoted follower of Jainism. She worships Jain deities and eventually renounces worldly life to become a nun.
Rama's Liberation: After Sita's renunciation, Rama also becomes an ascetic, attains omniscience (Kevaljñāna), and achieves liberation (Nirvana).
Focus on Jain Philosophy: Ultimately, the book argues that the Rama story in Jain literature serves as a vehicle to expound the fundamental principles of Jain philosophy, including the seven tattvas (soul, non-soul, influx, bondage, stoppage, dis-influx, and liberation).
Reasonable and Rational Narratives: The Jain Ramayanas are commended for their logical and rational approach to events, making them more understandable in the intellectual age.

In conclusion, Dr. Shashirani Agarwal's "Jain Sahitya me Ram Bhavna" meticulously analyzes how Jain literature reinterprets the epic of Rama, transforming it into a narrative that aligns with Jain philosophical ideals, emphasizing human agency, karmic consequences, and the pursuit of liberation, free from the concept of divine incarnation. Rama is revered as a great Jain follower and a model human being within the framework of the Trishashthi Shalaka Purushas.