Jain Sahityani Gazalo - Book Summary

Here's a comprehensive summary of the Jain text "Jain Sahityani Gazalo" by Kavin Shah, based on the provided pages:

Book Title: Jain Sahityani Gazalo (Gazals of Jain Literature) Author/Editor: Kavin Shah (Edited by Dr. Avin Shah - likely a typo and referring to the same author) Publisher: Kavin Shah Bilimora Catalog Link: https://jainqq.org/explore/001186/1

Overall Purpose and Content:

"Jain Sahityani Gazalo" is a compilation and exploration of gazal poetry within Jain literature. The book aims to showcase the richness and diversity of Jain literary traditions by presenting gazals composed by various Jain monks and poets. It traces the evolution of the gazal form within the Jain context, from its early descriptive stages to more philosophical and devotional themes.

Dedication:

The book is dedicated in the sacred memory of the birth centenary year of Acharya Vijay Nandan Suri Maharaj Saheb. He is described as a profound scholar in various subjects including poetry, literature, Agamas, logic, philosophy, a repository of affection, and a devotee of the Three Jewels (Samyak Darshan, Samyak Gyan, Samyak Charitra).

Key Themes and Sections:

The book is structured into several chapters and sections:

Introduction and Concept of Gazal (Chapter 1):
- The gazal, originating from Arabic literature, developed in Persian and later entered Urdu and Gujarati languages.
- It discusses the etymology and various interpretations of the word "gazal" (e.g., related to a deer, a lover named Ghazal, or conversation with a beloved).
- It explains the technical terms of a gazal: matla (opening couplet), makta (closing couplet with poet's name), sher (couplet), qafia (rhyme), radif (refrain), beher (meter), ula (first line), and sani (second line).
- It highlights the themes prevalent in gazals, such as love (spiritual and metaphorical), union and separation, and philosophical reflections on life and death, often influenced by Sufi thought.
- The importance of gaiyata (singability), rhythm, use of literary devices, and evocative language is emphasized.
- The connection between gazals and performance arts like mushaira and qawwali is noted.
Gazals in Jain Literature (Chapter 2):
- The book asserts that gazals in Jain literature began with place descriptions (sthala varnan), detailing cities like Vodaodra, Surat, Chittor, Udaipur, and Palanpur. This emerged as Jain monks adopted contemporary literary trends, possibly influenced by the Persian language prevalent in royal courts.
- The origin of descriptive gazals is traced to the 18th century, reflecting the Jain tradition of glorifying pilgrimage sites, similar to puranic literature.
- While these early gazals are information-rich and descriptive, they are noted to have less poetic depth.
- Key Poets and their contributions:
  - Khetaji: Composed "Chittod ri Ghazal" (1748 AD), based on personal observation. Also wrote "Udaipur ri Ghazal."
  - Nihalchand: A sadhu poet of the 18th century, disciple of Harshachandgani. His "Bangal Desh ki Ghazal" (1782-95 AD) describes Murshidabad and its socio-historical context.
  - Deepvijayji: A renowned poet of the first half of the 19th century, who composed gazals describing various cities like Vadodra, Surat, Khambhat, and Palanpur. His works provide historical and geographical information. He is also famous for his lullabies to Lord Mahavir.
  - Atmaramji: Incorporated gazal and rekhta in his devotional literature, focusing on prabhubhakti (devotion to the Lord).
  - Mansukhlal: Focused on spiritual themes and self-realization, blending knowledge and devotion.
  - Upadhya Virvijayji, Muni Hansvijayji, Pandit Manivijayji: Composed gazals within devotional literature, often in deshis (local tunes), bringing novelty.
  - Acharya Vallabh Suri: Composed gazals on devotion, ethics, detachment, and devotional literature, showing diversity and mastery of the gazal form, even in Sanskrit.
  - Acharya Labdhisuri: Considered a top-tier gazal poet in Jain literature for quantity and quality. His gazals cover diverse subjects like Barah Bhavana, Char Bhavana, Vyan Nishedh (abstinence from vices), Samyakitva, and Vairagya. He also composed in Sanskrit.
  - Agam Prabhakar Punyavijayji: Expressed guru-devotion and grief through his gazals.
  - Acharya Daksh Suri: Known for devotional gazals, recognized as a modern song and gazal composer.
  - Kavi Dhurandhar Vijay: His gazals are comparable to modern Gujarati gazals, showcasing a blend of meter, rhythm, emotion, and devotion.
- The book notes the influence of Sufi thought in Jain gazals, especially in expressing divine love and spiritual longing.
- It highlights the experimental nature of Jain poets in combining gazal with classical Indian music (raag) and deshis, and the occasional use of Arabic-Persian words.
- Many gazals are noted for incorporating the poet's name or details about the composition time in the makta or other verses, following medieval traditions.
Poet Profiles and Gazals (Chapter 3 - Part 1 & 2):
- This extensive section provides biographical information and samples of gazals from numerous Jain poets. It details their lineage, gurus, significant life events, and contributions to Jain literature.
- Key Poets Covered (with examples of their gazals/works):
  - Kavi Khetaji
  - Kavi Nihalchand
  - Kaviraj Pandit Deepvijayji (detailed descriptions of his gazals on Vadodra, Surat, Palanpur)
  - Kavi Atmaramji (Siddhapad Puja, Rekhta)
  - Manukhlal (various gazals on spiritual themes)
  - Upadhya Virvijayji (Padm Prabhu Padma, Suparshvanath Stavan, Nemnath Swami Stavan, Chaturvinsati Jinraj)
  - Muni Hansvijayji (Various pujas, Kawaali, Rekhta)
  - Acharya Vallabh Suri (Rishabhdev Swami Stavan, Ashtapad Tirth Puja, Mahavir Swami Panch Kalyanaka Puja, various other pujas)
  - Pandit Manivijayji (Stavans, Kalsas on various Tirthas)
  - Acharya Labdhisuri (Detailed discussion of his mastery in gazals, covering Barah Bhavana, Char Bhavana, various Tirthas, and even Sanskrit gazals)
  - Agam Prabhakar Punyavijayji (Gazals expressing guru-virah)
  - Acharya Daksh Suri (Devotional gazals)
  - Kavi Dhurandhar Vijay (Modern gazals with devotional and philosophical themes)
  - Acharya Yashobhadra Suri (Gazals from Adarsh Sajhay Mala, Chandaraja Sajhay)
  - Various other poets and their miscellaneous gazals are included.

Key Aspects of Jain Gazals Discussed:

Subject Matter: Primarily devotional (Praise of Tirthankaras, Gurus), philosophical (Atma Vichar, Vairagya), moralistic (abstinence from vices like gambling, intoxication, meat-eating), descriptive (pilgrimage sites), and sometimes narrative.
Language: A blend of Gujarati and Hindi, with occasional use of Sanskrit and Arabic-Persian vocabulary.
Form and Structure: Adherence to gazal conventions like qafia and radif, but often adapted to suit the devotional and philosophical content. The use of raag and desi (local tunes) alongside the gazal form is highlighted.
Influence: Shows the influence of Islamic Sufi traditions and Indian classical music in its form and expression, but adapted to Jain philosophy and teachings.
Contribution: Jain gazals are seen as enriching Gujarati literature and providing a unique way to convey profound spiritual and ethical teachings to a wider audience. They demonstrate the adaptability of literary forms to religious expression.
Specific Themes: The book details gazals on the Twelve Bhavanas (meditations), Four Bhavanas, ethical injunctions, and the importance of devotion, detachment, and spiritual realization.

Overall Significance:

"Jain Sahityani Gazalo" serves as an important scholarly work that illuminates a less-explored aspect of Jain literature. It demonstrates that Jain monks and scholars were not only custodians of ancient scriptures but also active participants in contemporary literary movements, adapting forms like the gazal to their spiritual and didactic purposes. The book makes a significant contribution to understanding the syncretic nature of Indian literature and the devotional depth within Jain tradition.