Jinsadharan Stavan No Aswad

This document is a commentary and appreciation of the "Jinsadharan Stavan" (Hymn of the Commonality of Jinas) composed by Acharya Haribhadrasuri. The commentary, titled "Jinsadharan Stavan no Aswad" (Taste/Appreciation of Jinsadharan Stavan), is authored by Parul Mankad and published by ZZ_Anusandhan.

Here's a comprehensive summary of its content:

Introduction and Core Focus:

• The "Jinsadharan Stavan," a work by Acharya Haribhadrasuri, originally in "Samskrita-Prakrit" (a blend of Sanskrit and Prakrit), was edited and published by Muni Shri Vijayashilchandra Suriji in the journal "Anusandhan," issue 8, 1997.
• This commentary aims to present a "rasadarshan" (aesthetic appreciation) of this composition.
• The stavan, structured as an "ashtak" (eight-verse hymn), primarily focuses on the praise of Tirthankaras (Jain spiritual leaders).
• The dominant sentiment is "rati" (devotion or affection) towards the divine, with figures of speech like metaphors (rupaka) enhancing this feeling.
• The final verse expresses a plea for detachment from worldly existence ("bhava-samsarathi viraha"), signifying the attainment of liberation (moksha). This indicates the presence of "shama" (equanimity or calmness) as a developed emotion.

Linguistic Innovation: The "Bhashasam" Alankara:

• A significant highlight of the stavan is its skillful use of the "Bhashasam" (similar language) alankara. This alankara involves composing poetry in multiple languages where the words are similar or identical across these languages.
• Acharya Haribhadrasuri successfully employs this technique by writing the stavan in both Sanskrit and Prakrit, using words that resonate equally in both. This feat of expressing ideas through similar words across different languages is described as a challenging but remarkable achievement.
• The purpose of this poetic composition is to bring pleasure to the Jin, and for the Jin to become a source of happiness.

Discussion on the "Bhashasam" Alankara and its Precedents:

• The commentary traces the origins and evolution of the "Bhashasam" alankara.
• Vishvanatha is credited as the originator of this alankara.
• Rudrata, while referring to a similar concept named "Bhashashreshtha" (best language), indicates a precursor.
• Vishvanatha accepted "Bhashashlesh" (language-pun) but also invented the new form of "Bhashasam."
• Bhoja did not directly mention "Bhashasam" but in his classification of "Jati" (a type of word-play), he described "Sadharani" (common) as an example of using Sanskrit and Prakrit words together. He also provided examples of "Bhashashlesh."
• However, the commentary clarifies that "Bhashasam" does not necessitate a pun (shlesh). The provided stavan is cited as a prime example of "Bhashasam" itself.
• The definition of "Bhashasam" is quoted: "When a sentence can be formed with the same set of words in various languages, it is known as Bhashasam." (Sahitya Darpan 10/10).

Analysis of Individual Verses (with Alankaras and Themes):

• Verse 1: Features "Angarupaka" (complete metaphor). The lotus feet of the Bhagavan are described as beautiful with petal-like fingers and are adorned by groups of celestials and humans resembling bees. These feet are the remover of worldly fears. The metaphor of lotus feet is extended by calling the fingers petals, creating a complete metaphor. It also subtly employs "Vyathireka" (contrast) by highlighting that ordinary lotuses cannot remove worldly fears, unlike the Bhagavan's feet.
• Verse 2: Contains metaphors and addresses the Jina. The Jina is likened to a lion that tears apart the elephants of desires, a cloud that quenches the forest fire of worldly existence, and a repository of pure virtues. The description of the hands and feet being the color of ashoka leaves indicates an "Upama" (simile). This verse skillfully blends similes and metaphors.
• Verse 3: Again addresses the Jina, employing beautiful metaphors that evoke emotions of dispassion (nirveda) and calmness (shama, dama). The Jina is compared to the wind that disperses the dust of illusion, an elephant that uproots the tree of worldly existence, a physician that cures the diseases of death and old age, and one who diminishes the strength of the great wrestler of delusion. The metaphor of the physician is implied. The Jina is depicted in multiple forms through metaphors, also suggesting "Ullekha Alankara" (description of multiple aspects).
• Verse 4: Addresses the Jina with skillfully crafted metaphors. The Jina is a lion against the enemy of emotions, a boat to cross the ocean of existence, a sun dispelling the darkness of flaws, and a jewel-casket of virtues. It uses a traditional metaphor ("Bhavaariharin") and employs "Yamak" (rhyme) in "tarand" and "karand." The overall sentiment is one of praise ("Sankirtan").
• Verse 5: Addresses the Jina with metaphor-based praise. The Jina is a superior lotus for the bees composed of celestial beings, Indra, Kinnaras, and esteemed humans. He is the abode of the ocean of compassion and resides in the great city of liberation.
• Verse 6: Continues the address and praise of the Jina through metaphors. The Jina is a Meru mountain that is a lake where the lotus of pure doctrine blooms. He is Garuda to the serpent of attachment and a wish-fulfilling jewel.
• Verse 7: Describes the Bhagavan using similes, comparing Him to Shiva's laughter, necklace, moon, frost, Kund flowers, and the white elephant Airavata. The final line expresses the desire for detachment from worldly existence, fulfilling the author's epithet "Bhavavirahank."
• Overall Emotional Arc: The stavan begins with devotion (rati) towards the Bhagavan and culminates in the emotion of calmness (shama). The ultimate aspiration is for the Jina to become the cause of supreme, spiritual bliss. The intervening verses also exhibit shades of humility (dainya), dispassion (nirveda), and calmness (shama).

Artistic Merit and Comparison:

• The poet has skillfully employed alankaras that align with the "bhavadhvani" (resonance of emotion).
• While the metaphors are often sustained, the poet sometimes deviates from them to suit the emotional context.
• The verses are compared to Tulsidas's "Shri Ramachandra Kripalu Bhaj Man" for their pleasing quality, although Tulsidas's work emphasizes alliteration for melodic appeal, while Haribhadrasuri's verses are rich in thoughtful adjectives describing the Jina's form and beauty.

Related Works and Scholarly Significance:

• The commentary also mentions another work by Haribhadrasuri, "Sansaradavanalastuti" (Hymn on the Forest Fire of Worldly Existence), which is also in "Samskrita-Prakrit." Several verses from this work are placed in parallel with verses from the "Jinsadharan Stavan" for comparative appreciation.
• The work, as edited by Vijayashilchandra Suri, is considered to be of high literary quality from the perspective of poetics.
• A list of reference books used for this commentary is provided.

In essence, "Jinsadharan Stavan no Aswad" is a scholarly and appreciative exploration of Acharya Haribhadrasuri's "Jinsadharan Stavan," highlighting its devotional depth, linguistic brilliance (especially the "Bhashasam" alankara), and masterful use of poetic devices to praise the Tirthankaras and express the ultimate aspiration for liberation.