Jogmayano Saloko - Book Summary

Here's a comprehensive summary of the Jain text "Jogmayano Saloko" by Niranjan Rajyaguru, based on the provided pages:

Book Title: Jogmayano Saloko Author: Niranjan Rajyaguru (Compiler/Editor) Original Author: Udayaratnaji Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229287/1

Introduction and Context (Page 1-3):

The text "Jogmayano Saloko" is presented by Niranjan Rajyaguru, compiled from a xerox copy obtained during the tour of Acharya Vijayashilchandrasuri Maharaj Saheb in Wadhwan.
The original composition by Udayaratnaji was created on the seventh day of the bright half of Posh in Vikram Samvat 1770 (1713 CE). The manuscript was later written by Muni Gunaratnaji on the fourth day of the bright half of Ashwin in V.S. 1871 (1814 CE).
The manuscript is five pages long, written on both sides, with each page containing 13 or 14 lines. The last page has five lines. The entire composition consists of 78 kadi (verses or stanzas) spread across 111 lines.

About the Author, Udayaratnaji (Page 1-2):

Udayaratnaji belonged to the "Ratna" lineage of the Tapagachchha tradition, which originated from a disciple of Devguptasuri. His guru was Shivaratnasuri.
He lived in Kheda and is said to have passed away in Miyagam.
Udayaratnaji was known for composing the "Sthulibhadra Navraso," a work filled with the sentiment of shringar (romance/eroticism), for which he was excommunicated from the monastic order. He was later readmitted after composing "Navvad Brahmacharya."
He studied the science of poetry under the poet Ratna Bhavsar of Kheda.
It is noted that Udayaratnaji created around thirty compositions, both large and small, along with stavan and sajjaay, between V.S. 1749 (1692 CE) and V.S. 1782 (1725 CE).
While other salokos by him, like "Nemnathno Saloko," "Shalibhadra no Saloko," and "Bharatbahubalino Saloko," have been published, "Jogmayano Saloko" had not been recorded in any reference books or manuscript catalogs until this publication.
The compiler suggests that Udayaratnaji's excommunication might have been due to his deep faith in "Shakti" (divine feminine power) and his expression of it in this saloko, rather than just the shringar element, hinting at an unconventional devotion ("anyashray").

Overview of "Jogmayano Saloko" (Page 2-3):

The saloko does not begin with traditional Jain mangalacharan (auspicious invocations) like verses to Tirthankaras or gurus. Instead, it starts with the remembrance of "Omkar," following the convention of similar popular compositions.
The text frequently uses names associated with the divine feminine power, such as Amba, Jogmaya, Shakti, Bahuchara, Parvati, and Durga. The poet portrays Shakti as the creator and protector of the universe, which is considered particularly interesting coming from a Jain poet.
The narrative follows the well-known Puranic story of the goddess defeating the demons Shumbha and Nishumbha.
The Story: When Shumbha and Nishumbha defeated all the gods, including Brahma, Vishnu, Shiva, and Indra, driving them from their abodes, the gods approached Amba Mata in the Himalayas to seek her protection. Amba Mata accepted their plea. She then appeared as a beautiful, illusory maiden, luring Shumbha into a battle where she destroyed him and his army, reinstating the gods to their positions. The poet concludes by identifying the Goddess as Mahakali, Mahasaraswati, and Mahalakshmi, the three forms that protect the world.
Vivid Descriptions: The descriptions of the goddess-demon battles are vibrant and full of virarasa (heroic sentiment).
Unique Imagery:
- In verse 60, the Goddess is depicted wielding a "banduk" (gun) and firing a shot.
- In verse 62, a metaphor of churning is used: the Goddess churns the enemy army with a sword (khandarupi manthan), extracting the "butter" of their honor.
Linguistic Peculiarities:
- The text features many regional and notable words, such as "bhacharḍya," "lapoṭ," "thapoṭ," "gaṇṇavyāṁ," "chupaṭ," "garadi," and "tamyō," some of which suggest the influence of Charani language.
- Verse 71 poses a question from the enemies' perspective: "Why were we born as men? If we were women, we might have had the strength of this Goddess." The word "cheṁteṁ" in the line "Shatru cheṁteṁ ame purush kã sarajā?" is analyzed, with "chinte" (thinking/worrying) being the immediate interpretation, but also a possible interpretation from Kutchi dialect meaning "they were saying."
Manuscript Importance: The compiler emphasizes the need to find other manuscripts of this saloko for textual purification and better understanding.

The Saloko's Content (Page 4-15):

Verse 1: Begins with the syllable "Om."
Verse 2: Identifies Jogmaya as the "mother of the world," revered by Brahma, Hari, and Har, and invites people to listen to her saloko.
Verse 3-4: Describes Jogmaya (Shakti) as omnipresent, fulfilling desires, and the creator of the universe. She is the dispeller of suffering and the ultimate remover of bondage.
Verse 5: Declares Shakti as the doer and remover of all welfare, without whom no creature has glory. She is embraced by the virtuous.
Verse 6: Mentions Bhavani (Shakti) as the foundation of the universe, relieving worries. Her fierce gaze destroyed Madhu-Kaitabh.
Verse 7-12: Recounts the story of the gods' defeat by Shumbha and Nishumbha, their plea to Amba, and her acceptance. Amba Mata is described as appearing in various forms, including a young, beautiful maiden, ready to fight.
Verse 13-25: Provides an extensive and detailed description of the Goddess's physical beauty, ornaments, and attire, emphasizing her captivating form.
Verse 26-32: Depicts the Goddess singing and dancing, attracting the attention of demons. The demons question her origin and presence. She declares that any man who conquers her in battle will be her husband. Shumbha, the great demon king, is then introduced as the one who can fulfill her desire.
Verse 33-38: Shumbha sends his messengers, Chanda and Munda, to bring the Goddess. They are described as formidable. Another messenger, Dhumralochan, is sent, and the Goddess is compared to a lioness confronting jackals.
Verse 39-45: Describes the fierce battle. When the demons realize they are facing a formidable power, Shumbha sends Raktabija. The Goddess kills Raktabija, and from his blood, numerous demons arise. The Goddess drinks the blood and feeds it to her Yoginis, preventing the proliferation of demons. She is praised as Bahuchara and Kali.
Verse 46-51: Nishumbha, Raktabija's brother, arrives with an army. Shumbha himself then advances with a massive force, described with the might of oceans and mountains. The battlefield is filled with the sounds of war drums, trumpets, and the clash of weapons.
Verse 52-55: Shumbha challenges the Goddess, boasting of his strength and beauty. He questions who can match his might and offers to marry her.
Verse 56-58: The Goddess accepts Shumbha's challenge. She appears like a lioness, grinding her teeth, ready for battle. She wields her sword and challenges the demons. She is described as fierce, terrifying, and a slayer of demons.
Verse 59-71: Details the intense battle, with the Goddess using various weapons, fighting fiercely, and destroying the demon army. She uses a gun, the sword-churning metaphor, and dismembers and devours demons. The verses vividly describe the chaotic and violent nature of the fight, with enemies being cut, torn, and flung. The question of male existence is reiterated in verse 71.
Verse 72-77: The Goddess's victory is celebrated. The gods offer prayers and seek her blessings for the fulfillment of desires, protection from enemies, and removal of obstacles. She is praised as the universal mother, omnipresent, and the remover of difficulties, especially during Navaratri.
Verse 78: The saloko concludes with Udayaratnaji stating that he composed this poem through the merit of his past deeds. The colophon mentions the completion date of the manuscript by Muni Gunaratne.

Significance:

The "Jogmayano Saloko" is a significant piece for several reasons: it showcases a Jain poet engaging with Puranic narratives of Shakti worship, demonstrates unique poetic expressions and metaphors, and contributes to the understanding of religious syncretism and literary traditions of the period. The compiler's effort in bringing this relatively unknown work to light is highlighted.