Jina Arishtanemi Sambandh Tran Aprakshit Stava

Here's a comprehensive summary of the Jain text "Jina Arishtanemi Sambandh Tran Aprakshit Stava" by Priti Pancholi, based on the provided pages:

This work, compiled by Priti Pancholi, presents three previously unpublished hymns (Stava) dedicated to Lord Neminath, specifically highlighting his connection to Mount Raivata (Girnar). These hymns are drawn from the collection of Munivar Punyavijayji. The authors of these stotras are identified as Rishivardhansuri of the Anchalgachha, a poet named Kalyan (possibly), and an unknown author.

Stotra 1: Composed by Rishivardhansuri

• Author: Rishivardhansuri, a disciple of Jayakirtisuri, who belonged to the Anchalgachha. He is also known for composing "Atishayapanchashika" and the "Naladavadanti Rasa" in Marugurjara language in Chitrakoot in Samvat 1512 (1456 CE). The praise inscription for the latter highlights his guru Jayakirti and the auspiciousness of reciting the work.
• Content: This stotra is a devotional hymn addressed to Lord Arishtanemi of Raivatachala. It is written in a style that employs "padanta chamaka" (end-rhymes) at the end of each stanza. The first stanza, "Nemi stuve Raivat ketake take," clearly indicates the dedication to Lord Arishtanemi of Raivatachala.
• Structure: The stotra consists of 10 stanzas in the Vanshastha meter, followed by the eleventh stanza in the Shardulavikridita meter.
• Key Features: The stotra uses elaborate end-rhymes, making the full meaning dependent on a commentary (vritti or avasuri) for complete understanding. The final stanza mentions the author's name (Rishivardhan) and his guru's name (Jayakirti). Jayakirtisuri was a prominent figure in the Anchalgachha and likely belonged to the lineage of the famous Mertunga Suri.
• Historical Context: The work is clearly attributed to Rishivardhan of the Vidhipaksha-Anchalgachha, likely from the mid-15th century. A note at the end of the manuscript indicates it was written in Burhanpur for recitation by Muni Sahasrasundar. The manuscript itself is estimated to be from the 16th century.
• Themes: The stotra praises Lord Neminath's divine qualities, his victory over passions like Kama (desire), his role as a liberator from worldly suffering, and the devotion shown by gods and humans. It describes his divine form and the awe it inspires. The author expresses his deep devotion and yearning for Lord Neminath's grace.

Stotra 2: Possibly by Poet Kalyan

• Author: Attributed to a Jain poet named "Kalyan." There is no definitive evidence to confirm if this is Muni Kalyanvijay of the Tapagachchha from the 17th century or another individual. The time period of this poet is also unclear.
• Content: This hymn is dedicated to Lord Neminath.
• Structure: The first stanza is in the Anushtubh meter, and the subsequent 14 stanzas are in the Upajati meter.
• Key Features: The style is capable of carrying aesthetic appeal and meter. The language is praised for its clear sound and absence of discordant vowel combinations. It is rich in heartfelt emotions, expressing the fervent prayers of a devotee. The author skillfully employs figures of speech like simile (upama), illustration (nidharshana), and general to particular (arthantarnyas).
• Themes: The hymn describes Lord Neminath as the supreme being, the destroyer of enemies, and the one free from worldly attachments. It highlights his divine presence, the devotion of deities and humans, and his ability to fulfill desires. The poet expresses his personal struggles with Moha (delusion) and his earnest plea for the Lord's compassion and liberation. There's a strong sense of personal connection and yearning for the Lord's grace and the merit gained through his darshan (sight). The poet also emphasizes the transformative power of devotion to Neminath, likening it to the effect of a Kalpavriksha (wish-fulfilling tree) on poverty.

Stotra 3: By an Unknown Author

• Author: An unknown poet.
• Content: This stotra is related to Lord Neminath of Girnar.
• Structure: It is a brief composition of only six stanzas written in the Dutavilambita meter.
• Key Features: The poet has skillfully employed alliteration and internal rhymes (prasa) throughout the stotra. There is also a consistent use of anusvara (nasalization) at the end of the verses, a characteristic found in many medieval works. The only exception to this end-rhyme pattern is in the fourth stanza, which serves as a refrain. The composition is considered pleasing and memorable.
• Historical Context: Based on its style and characteristics, the poem is likely from the post-medieval period.
• Themes: The stotra describes Lord Neminath in various epithets, highlighting his pure knowledge, his detachment from worldly pleasures even after experiencing them for nine lives, his role as the moon for the chakoras of the four worlds, the sun for the Hari-vansha lineage, and the one who vanquishes the elephant of Kama. It portrays him as residing in the hearts of the virtuous, with radiance like a lotus, and as the destroyer of the great warrior of Moha. The verses also emphasize his role in fulfilling the desires of his devotees, his strength in overcoming lust like an elephant, and the beauty of his lotus-like eyes. The stotra concludes with a plea for victory and eternal happiness from Lord Neminath, who is described as the leader of ascetics and the bestower of auspiciousness.

In essence, the book presents three distinct yet thematically unified hymns celebrating Lord Neminath, showcasing different poetic styles and historical periods within Jain literature. They all highlight his divine attributes, his connection to Mount Raivata, and the profound devotion he inspires in his followers.