Jambuswami Chariya - Book Summary

Here's a comprehensive summary of the Jain text "Jambuswami Chariya," based on the provided PDF excerpt:

Book Title: Jambuswami Chariya (Life of Jambuswami) Author: Kavi Dharm (Disciple of Shri Mahendrasuri) Publisher: Z_Arya_Kalyan_Gautam_Smruti_Granth_012034.pdf Catalog Link: https://jainqq.org/explore/230093/1

Overview:

The "Jambuswami Chariya" is an Apabhramsa poem composed in Samvat 1266 (1109 CE) by Kavi Dharm, a disciple of Acharya Shri Mahendrasuri. This work is considered a significant example of early Gujarati literature and has attracted the attention of many scholars. The poem, originally published in the 'Prachin Gujarathi Kavya Sangrah' (which is now out of print), was obtained from the renowned scholar Shri K.K. Shastri. The provided text includes a review of the "Jambuswami Chariya" by Dr. Vidyatri Avinash Vash from her book "Uttar Apabhramshne Sahitya Vikas" (1976).

Kavi Dharm is identified as the fourth poet in the lineage of available Ras literature in terms of time. The poem itself is structured into six sections ("Thavani").

Summary of Content by Section (Thavani):

First Thavani: This section begins with auspicious invocations (Mangalacharan) and states the poem's purpose, adhering to traditional poetic conventions. As a Jain poet, Dharm first pays homage to the Tirthankaras and then extols the virtues of Jambuswami. The poet's devotional fervor leads him to express his religious convictions, which is deemed appropriate in this eulogistic work. This section narrates the story of Prince Prasannachandra and the impending journey of Vidhyummali to the seventh hell. It also includes a dialogue where Vardhaman Swami answers King Shrenik's questions.
Second Thavani: This section describes Jambuswami's previous birth. In that life, he was born as Prince Shivakumar to King Padmarath and Queen Vanmala in Vitrashek city. Following the prophecy of Sage Sagar, who was devoted to the previous birth's spiritual practice, Jambuswami is born as the son of Seth Rishabhadatta and Dharani. Due to the strong spiritual impressions from his past life, Jambuswami becomes a lifelong celibate at the age of eight after going to his guru. Despite his devotion to his mother and his inability to disobey her, as a young man, Jambuswami marries eight princesses simultaneously and brings them home. According to a prior agreement, they are to take vows of asceticism the next morning after the wedding. While explaining this to his eight wives, Prabhava, a thief along with five hundred accomplices, suddenly appears and attempts to steal their ornaments. Jambuswami, using his "stambhan vidya" (paralyzing or stopping knowledge), defeats Prabhava. Prabhava, impressed and granted safety, requests Jambuswami to teach him the same "stambhan vidya" that his father possessed. A dialogue between Jambuswami and Prabhava ensues (canto 21-25). After Jambuswami manages to persuade Prabhava and the queens, his parents also decide to take vows of asceticism along with the monks. This second section concludes, suggesting that while everyone except Prabhava experiences renunciation, the underlying motive appears to be the desire not to be separated from Jambuswami, driven by attachment rather than true detachment.
Third Thavani: This section focuses on Prabhava's remorse for his past misdeeds. He seeks forgiveness from the king. The poet beautifully portrays Prabhava's moral courage, his fear among the populace, and his impact on the king. When the king asks Prabhava about the cause of his renunciation, Prabhava explains that seeing Jambuswami, with astonishing detachment, renounce eight brides and immense riches like blades of grass, also inspired his father to seek renunciation.
Fourth Thavani: This section details Jambuswami's procession as he goes to take vows of asceticism.
Fifth Thavani: The poet states that other people also took vows of asceticism. Finally, Prabhava is seated on the throne, and Jambuswami attains the state of liberation (Siddha gati).
Conclusion: The poem concludes with the poet providing information about his guru and himself, along with the benefits of reading the work.

Literary Analysis and Commentary:

Structure: The narrative is divided into sections called "Thavani."
Characters: The poem portrays the characters of the virtuous Jambuswami and Prabhava.
Dialogue: The entire poem is conversational, leaving little room for natural descriptions of nature.
Musicality: It is a lyrical poem ("geya kavya"), with characters like "O, ha, e" at the end of verses to maintain musicality.
Themes: The primary theme is the renunciation of Jambuswami, a foremost figure of Dharma.
Simplicity: The 41-verse poem is simple and direct, focusing on the theme of renunciation. It lacks elaborate descriptions and decorative elements, fitting its theme of renunciation.
Figurative Language: The poem uses metaphors like "Ashataruvar" and "Mohanrinda" (a form of 'rupak' or metaphor). End rhymes are present but sometimes neglected.
Religious Emphasis: The poet, being a propagandist of his faith, emphasizes that Prabhava, the wives, and the parents all take vows of asceticism after Jambuswami. While the intellectual aspect might be debated, the inherent value of renunciation is highlighted.
Critique: The review notes that the emphasis on all those around Jambuswami renouncing their vows might seem overly driven by the author's agenda rather than genuine spiritual awakening. The value of renunciation itself might appear cheapened in this context. However, the religious elements are considered acceptable.
Jain Doctrines: The poem refutes non-Jain beliefs like "sacrifice" and "ancestral debt" with examples, such as the saying "Father dies, son is born, killing the son" (referring to the idea of sacrificing a child). The belief in rebirth and liberation is also evident.
Miracles: As a religious poem, it incorporates miraculous elements, such as dreams before birth.
Social Context: The poem suggests the prevalence of polygamy, the societal expectation of parental permission for initiation, the presence of thieves, and a potentially less robust law enforcement. It also indicates a society where criminals could receive forgiveness if they were religious, and that religious individuals were respected.
Character Portrayal: While the poem is about Jambuswami, the focus is heavily on his previous birth and the story of Prabhava. Jambuswami's own life and development are not detailed extensively. The transition from childhood to youth is abrupt, and his education and spiritual progress are not elaborated upon, possibly due to the poet's eagerness to introduce Prabhava.
Emotional Resonance: The poem hints at the wondrous essence of the spiritual knowledge used by Jambuswami and Prabhava, particularly when Jambuswami stops the thieves. There's a touch of humor in the description of the astonished thieves. However, peace (Shanta Rasa) is the dominant emotion throughout.
Poet's Tradition: Kavi Dharm adheres to tradition by offering salutations to deities, identifying himself and the date of composition, and seeking blessings from the "Vidya Devis" (Goddesses of knowledge) at the end.
Title Appropriateness: The review questions whether the title "Charitra" (biography) is entirely fitting, as the detailed life story of Jambuswami is not fully presented. The poem, being only 41 verses long, might have been limited in its scope. It is undeniably a "Ras" poem.

Key Takeaways:

"Jambuswami Chariya" is a significant Apabhramsa poem focusing on the renunciation of Jambuswami.
It blends narrative, dialogue, and religious teachings.
The story of Prabhava plays a crucial role in the poem's unfolding.
The poem offers insights into the social and religious context of its time.
While praised for its lyrical quality and adherence to poetic tradition, some critiques suggest a lack of depth in character development for Jambuswami himself.

This summary provides a comprehensive overview of the text, its author, content, and critical analysis as presented in the provided PDF.