Jain Sahitya Na Pado Vishe Vicharana

Here is a comprehensive summary of the Jain text "Jain Sahitya na Pado Vishe Vicharana" by Prof. Chandrakant H. Mehta, in English:

Summary of "Jain Sahitya na Pado Vishe Vicharana" (Considerations on Jain Poetic Padas) by Prof. Chandrakant H. Mehta

This essay, "Considerations on Jain Poetic Padas," by Prof. Chandrakant H. Mehta, delves into the significant role and characteristics of the "pada" (a type of song or lyric) within medieval Gujarati Jain literature. The author asserts that the pada was the most widespread, popular, and rich literary form of its time, distinct from others where the general public primarily acted as listeners. The pada, conversely, was widely embraced by the common people, who would memorize, joyfully sing, and derive pleasure from it daily. Both Jain and non-Jain traditions developed this form extensively, and its popularity was such that writers of longer works like prabandhas, akhyanas, and rasas frequently incorporated padas. Thus, the pada held both an independent status and was integrated with other literary genres.

Prof. Mehta defines the pada as an emotional poetry type, akin to modern "lyrics." The quality of a pada is directly proportional to the strength and poetic merit of the expressed emotion. The emotions depicted in padas are primarily of two types: devotional and didactic. Didactic padas often carry philosophical or ethical messages, and this category flourished significantly in Jain literature. The emotions expressed in Jain padas are typically conveyed through narrative or descriptive styles.

A key characteristic of medieval literature was its integration with life. Literature arose from the needs of daily life, and its structure was closely tied to the lived experiences of people. Medieval poets composed for the common person, expressing their emotions in language accessible to all. This made literature universally understood and enjoyed. Poets drew metaphors and examples from ordinary life, making folk life their primary source of inspiration. An example is provided of Samaysundar's pada, which uses the metaphor of a washerman to illustrate the cleansing of the mind, effectively conveying complex spiritual ideas through simple, everyday imagery.

The author also highlights how Jain padas often incorporated daily human activities to impart religious teachings or remind people of their duties. The example of Yashovijayji's stavana illustrates this, where mundane actions like brushing teeth or bathing are used as metaphors for spiritual purification and devotion. The poet skillfully weaves the essence of these actions into the verses to make the message resonate deeply with the listener. This demonstrates the profound connection between pada literature and everyday life.

While most other Jain literary forms rarely show the influence of non-Jain literature or religion, Jain padas exhibit a peculiar characteristic: the clear influence of non-Jain devotional love (premalakshana bhakti). Despite the predominantly ascetic nature of Jainism, Jain poets adopted the language and metaphors of devotional love, commonly found in non-Jain traditions, to express their own emotions. The author notes that Jain poets found it as easy as their non-Jain counterparts to use the idiom of shringara (romance or erotic sentiment) as a vehicle for their feelings. The padas of Anandghanji are presented as prime examples, where God is addressed as a beloved, and the expressions of yearning and separation mirror the sentiment expressed by Radha towards Krishna. One pada explicitly uses terms like "Shyam" and "Prananath" (lord of my life), evoking the imagery of a gopi addressing Krishna. Anandghanji's verses are described as even more intense, using a passionate romantic vocabulary reminiscent of poets like Dayaram and Narsinh Mehta. Yashovijayji is also mentioned for portraying a similar lover-beloved sentiment, with one line comparing the devotee to a chatak bird thirsting for the cloud-like beloved, drawing parallels to the devotional expressions of Mirabai. This use of romantic terminology is identified as a unique feature of Jain pada literature, where shringara, while present in Jain rasas and prabandhas, typically holds an independent status rather than serving as a linguistic vehicle for devotion.

Given the mercantile nature of the Jain community, commercial terminology and metaphors from the world of trade are naturally found in Jain padas. These metaphors are easily understood and accepted by a mercantile society. Anandghanji's pada, for instance, uses the language of business to convey the brevity of life and the vastness of spiritual goals. The text compares this to Narsinh Mehta's poem, highlighting the shared inspiration and the intention to make the message comprehensible to the public.

Another distinct type of Jain pada is the "Sajjaay." Derived from swadhyaya (self-study), these were recited by devotees for their daily study, often in the morning. Sajjaays were memorized and sung in temples, with the primary aim of guiding people towards the righteous path, either through direct instruction or indirect teachings via stories and examples. Narrative Sajjaays often briefly recounted the life stories of ascetics or monks. The example of the "Ilachiputra ni Sajjaay" is provided, which narrates the story of Ilachiputra's renunciation after witnessing a dancer. The author notes that this narrative is presented straightforwardly, without embellishment, and the story's impact lies in the ascetic's renunciation of worldly desires, driven by a desire for purity, in contrast to the dancer's fleeting allure and the king's covetousness. The essay mentions other similar narrative Sajjaays like those of Maitar Muni, Aranik Muni, etc. Sajjaays could also contain direct teachings, as exemplified by verses on the negative consequences of anger or the importance of wisdom and devotion.

Other types of Jain padas include "Chaityavandan" and "Snanapuja." Both are closely associated with temples. Chaitya means a Jain temple, and Chaityavandan refers to the songs and praises sung by devotees while visiting the deity in the temple, often featuring the glorification of the temple's deity. Khima's Chaityavandan praises the sanctity of Shatrunjay Tirth. The essay notes that Chaityavandan typically begins with the invocation of Goddess Saraswati and concludes with praise for the temple deity. The term "Kalash" in the title of Mula's Chaityavandan is identified as the name of a dhal (meter or tune) rather than the ritualistic pot used in Snanapuja.

"Snanapuja" or "Kalash" are lyrical forms closely tied to temples and the ritual of bathing and adorning the deity. These padas explicitly mention the act of bathing and offering flowers. The verses often describe the offering of pure water, new clothes, and garlands of flowers. The essay provides examples of such padas, highlighting the mention of cleansing the idol's limbs and offering flowers.

The author observes that some Jain pada forms are nearly identical to their non-Jain counterparts in outward appearance, with the only difference being the names of the deities being praised. This similarity is particularly evident in the "Aarti" (a devotional song sung with lamps). The ritual of Aarti was common across Jain, Vaishnava, Shaiva, and Shakti traditions, following a similar pattern. Therefore, the pada type of Aarti emerged to serve the needs of various temples. The Aarti of Lord Mahavir is provided as an example, noting the characteristic repetition of phrases like "Jay Dev" and "Dev," and the repetition of half-lines. The essay points out that the same Aarti could be adapted for Lord Krishna by simply changing the name and incorporating relevant episodes from his life. This similarity stems from the uniform method and ritual of singing Aarti everywhere. Another characteristic Aarti describes the apsaras (celestial nymphs) performing Aarti for the Jinvvar (Jain Tirthankar), highlighting the description of the apsaras rather than the deity. While typical Aarti praises the deity's form, this one focuses on the performers. The author concludes by stating that the Aarti form, both in its content and presentation, is remarkably similar in Jain and non-Jain literature.

In conclusion, the essay emphasizes the rich diversity within Jain pada literature, encompassing narrative, descriptive, and emotional elements. Like non-Jain padas, it was closely associated with temples, making it a prosperous, unique, yet interconnected literary form. The contribution of Jain writers to the vast treasure of medieval pada literature is acknowledged as significant and praiseworthy.