Jin Shatakam Satikam - Book Summary

Here's a comprehensive summary of the Jain text "Jin Shatakam Satikam" by Lalaram Jain, based on the provided pages:

Book Title: Jin Shatakam (शतक) Author: Acharya Shri Samantabhadra (original composition), edited by Lalaram Jain Publisher: Syadwad Ratnakar Karyalay, Benares City Year: 1912 CE (Veer Samvat 2438)

Overview:

"Jin Shatakam" is a significant Jain text attributed to the revered Acharya Shri Samantabhadra. This edition, compiled and edited by Lalaram Jain, includes a Sanskrit commentary (Tika) by Narasimhabhatta and a Hindi translation by Lalaram Jain himself. The text is a collection of stotras (hymns of praise) dedicated to the twenty-four Tirthankaras, the enlightened beings who guide humanity towards spiritual liberation in Jainism. The title "Jin Shatakam" suggests a collection of 100 verses, though the provided excerpt focuses on the introductory material and the initial stotras, showcasing complex poetic structures.

Key Aspects and Content:

Introduction and Publisher's Note (Pages 2-3):
- The book is published as part of the "Syadwad Granthamala" series.
- The publisher, Pannalal Bakliwal of Syadwad Ratnakar Karyalay, explains the rationale for publishing this work first.
- It recounts a historical anecdote about Acharya Samantabhadra contracting a severe illness (Mahabhasmak Vyadhi) in Kashi. He found relief by consuming remnants from Shiva's worship. When the Kashi king questioned his faith, Samantabhadra composed the "Swayambhu Stotra" in praise of Lord Chandraprabha, causing a miraculous manifestation of the Tirthankara's image from the Shiva idol. This event converted thousands of Shiva devotees to Jainism.
- The "Jin Shatakam" itself is noted for its intricate poetic artistry, with each verse composed in a "Mura-ja-bandha" (a specific cyclic arrangement of letters).
- The publisher emphasizes that this text may not be appealing to a general audience but is published from this holy place in Kashi as a sacred beginning for the series.
- The edition is based on a single copy obtained from Jaipur, and the editors acknowledge potential inaccuracies due to new printing press staff and their own visual limitations, requesting forgiveness from scholars.
Commentary (Tika) and Introduction to the Text (Pages 4-5):
- The work begins with a Mangalacharan (auspicious invocation) by the commentator, Narasimhabhatta, paying homage to Lord Rishabhadeva (Vrishabhanath) and Acharya Samantabhadra.
- It describes the "Jin Shatakam" as a praise of the twenty-four Tirthankaras, who have destroyed their karma and possess infinite knowledge.
- The commentator highlights the difficulty of the "Mura-ja-bandha" poetic structure, noting that the "Jin Shatakam" is challenging even for yogis.
- Narasimhabhatta presents himself as the one who made this difficult text accessible through his commentary.
- The stotra is presented as a means to attain the Tirthankaras' lotus feet, conquer sins, and achieve desired goals.
Poetic Structures and Examples (Pages 5 onwards):
- The text is characterized by highly complex and intricate poetic forms. The excerpt showcases several examples:
  - Mura-ja-bandha: A specific interweaving of verses where letters from one line are combined with letters from another in a patterned way to create multiple meanings or effects. Examples of this structure and their interpretations are given for verses 1, 2, 6, 7, 29, 30, 31, 32, 33, 34, 35, 41, 42, 43, 45, 48, 49, 57, 58, 59, 60, 61, 62, 63, 65, 67, 68, 69, 70, 71, 73, 74, 75, 76, 77, 78, 79, 80, 82.
  - Arddha-bhuma-gudha-pashchardha (Page 7): A verse where the first half of the verse is concealed within the second half, requiring a specific method of reading and reconstruction. Verse 3 is an example.
  - Ardha-bhuma (Page 24): Similar to the above, involving a partially concealed structure. Verses 18 and 19 are presented.
  - Sadhika-pada-abhyasa-yamaka (Page 9): A type of repetition or echo in the verses. Verse 5 demonstrates this.
  - Gata-pratyagata-ardha (Page 15): Verses where the words or phrases read forwards and backwards form different meaningful sequences. Verse 10 is an example.
  - Shloka-yamaka (Page 16): Paired verses with similar themes or structures. Verses 11 and 12 are presented as an example.
  - Ek-aksha-vira-chita-eka-pada-shloka (Page 17): Verses where specific letters are used repeatedly or in a cyclical manner to form the lines. Verse 13 is an example.
  - Shloka-yamaka (Page 22): Paired verses. Verses 16 and 17 are presented.
  - Ardha-bhuma (Page 24): Verses 18 and 19 are presented.
  - Ardha-bhuma (Page 25): Verses 20 is presented.
  - Ardha-bhuma (Page 26): Verses 21 is presented.
  - Garbha-Mahadishi-Chakra-Shloka (Page 27): A complex cyclical verse structure involving letters placed in different directions. Verse 22 is an example.
  - Garbha-Mahadishi-Chakra-Shloka (Page 29): Another example of a cyclical verse. Verse 23.
  - Garbha-Mahadishi-Chakra-Shloka (Page 30): Verse 24.
  - Samudgaka-yamaka (Page 31): Paired verses with similar structures. Verse 25.
  - Chakra-Shloka (Page 32): A cyclical verse. Verse 26.
  - Ardha-bhrama (Page 33): Verse 27.
  - Gata-pratyagata-pada-yamaka (Page 34): Paired verses with forward-backward reading patterns. Verse 28.
  - Nir-oshtha-Shloka-yamaka (Page 43): Paired verses that deliberately avoid certain sounds (labials, denoted by "oshtha"). Verses 37 and 38.
  - Anantara-pada-Mura-ja-bandha (Page 54): A specific type of Mura-ja-bandha. Verse 48.
  - Ishta-pada-Mura-ja-bandha (Page 56): Another variant of Mura-ja-bandha. Verse 50.
  - Dwya-kshara-pada-abhyasa-yamaka (Page 57): Paired verses with repetition of two-letter combinations. Verse 51.
  - Aksha-dvaya-virachita-Samudgaka-yamaka (Page 58): Paired verses with specific letter structures. Verse 52.
  - Chakra-Shloka (Page 59): Verse 53.
  - Gudha-ishta-pada-Shloka (Page 60): Verse 54.
  - Gudha-dwitiya-tritiya-anyatara-pada-vara-maya-Shloka (Page 61): Verse 55.
  - Ardha-bhrama (Page 62): Verse 56.
  - Gata-pratyagata-eka-Shloka (Page 63): Verse 57.
  - Mura-ja (Pages 64-65): Verses 59, 60, 61, 62, 63, 65, 67, 68, 69, 70, 71, 73, 74, 75, 76, 77, 78, 79, 80, 82.
  - Sarva-pada-anta-yamaka (Page 76): Paired verses with ending repetitions. Verse 72.
  - Anantara-pada-Mura-ja (Page 78): Verse 75.
  - Shloka-dvitiya (Page 79): Paired verses. Verses 76 and 77.
  - Sarva-pada- Madhya-yamaka (Page 83): Paired verses with middle repetitions. Verse 79.
  - Mura-ja (Page 84): Verse 80.
  - Sarva-pada-anta-yamaka (Page 85): Verse 81.
  - Mura-ja (Page 86): Verse 82.
  - Gata-pratyagata-ardha-bhaga (Page 87): Verse 83.
  - Bahu-kriya-pada-dwitiya-pada-madhya-yamaka-taalu-vyanjana-varna-swara-gudha-dwitiya-pada-sarvato-bhadra (Page 88): A highly complex structure described as having multiple actions, middle repetitions, alliteration, vowel sounds, and hidden elements, readable from all directions. Verse 84.
  - Gata-pratyagata-pada-pada-abhyasa-yamaka-kshara-dvaya-virachita-Sannivesha-vishesha-samudgata-anuloma-pratiloma-Shloka-yugala-Shloka (Page 89): A compound structure with forward-backward readings, repetitions, and specific letter arrangements. Verse 85.
  - Anuloma-Pratiloma-eka-Shloka (Page 90): A verse with forward and backward readings. Verse 86.
  - Anuloma-Pratiloma-eka-Shloka (Page 91): Another example. Verse 87.
  - Gata-pratyagata-bhaga (Page 92): Verse 88.
  - Ishta-pada-valaya-prathama-chaturtha-saptama-valaya-eka-kshara-Chakra-vritta (Page 112): A cyclical verse structure based on specific positions and single letters. Verse 111.
  - Kavi-kavya-nama-garbha-Chakra-vritta (Page 122): A cyclical verse that is also named after the poet and includes the poem's name within its structure. Verses 113, 114, 115, 116 are cited as examples.
Stotras for Tirthankaras (Pages 16 onwards):
- The text systematically praises each Tirthankara, often highlighting their unique attributes, liberation from karmic bondage, and their role as guides.
- Specific Tirthankaras mentioned and praised include:
  - Rishabhadeva (Page 16)
  - Ajitnath (Page 22)
  - Sambhavanatha (Page 25)
  - Abhinandananatha (Page 27)
  - Sumatinatha (Page 32)
  - Padmaprabha (Page 33)
  - Suparshvanatha (Page 35)
  - Chandraprabha (Page 36)
  - Pushpadanta (Page 44)
  - Sheetalanatha (Page 47)
  - Shreyansanatha (Page 49)
  - Vasupujya (Page 54)
  - Vimalanatha (Page 56)
  - Anantanatha (Page 60)
  - Dharmanatha (Page 63)
  - Shantinatha (Page 67)
  - Kunthunatha (Page 85)
  - Naminatha (Page 96)
- Each stotra is accompanied by detailed explanations of the verse's meaning, the grammar, and the specific poetic techniques employed.

Significance:

Literary and Poetic Prowess: The "Jin Shatakam" is a testament to the sophisticated literary and poetic traditions within Jainism. The intricate structures like "Mura-ja-bandha," "Chakra-Shloka," and various forms of "Yamaka" and "Bhrama" demonstrate immense skill and devotion in praising the Tirthankaras.
Devotion and Spiritual Guidance: The core purpose of the text is to inspire devotion towards the Tirthankaras and to guide practitioners towards spiritual liberation. The verses often describe the Tirthankaras' omniscience, compassion, and their ability to bestow ultimate happiness and freedom from suffering.
Preservation of Jain Heritage: This edition preserves and makes accessible a classical Jain text, contributing to the understanding and appreciation of Jain literature and philosophy. The detailed explanations of the poetic forms and meanings are invaluable for scholars and practitioners.
Theological Depth: The stotras encapsulate core Jain theological concepts such as karma, liberation, non-violence (Ahimsa), detachment, and the nature of the soul and the Tirthankaras' perfect knowledge.

In essence, "Jin Shatakam Satikam" is a monumental work of Jain devotional literature, renowned for its profound spiritual message delivered through exceptionally complex and artistic poetic compositions. It highlights the Jain tradition's emphasis on both intellectual rigor and deep spiritual reverence.