Narad Ke Vyaktitva Ke Bare Me Jain Grantho Me Pradarshit Sambhramavastha - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Narad ke Vyaktitva ke Bare me Jain Grantho me Pradarshit Sambhramavastha" by Kaumudi Baldota:

This research paper, "The Ambivalent Representation of Narada's Personality in Jain Scriptures (in the context of Vedic and Post-Vedic Traditions)," by Dr. Kaumudi Baldota, explores the complex and sometimes contradictory portrayal of the sage Narada within Jain literature, contrasting it with Vedic and post-Vedic traditions.

Introduction and Early Jain Perceptions:

The author, a scholar of Prakrit, was particularly drawn to the Isibhasiyaim (Rishibhashitam), an Ardhamagadhi text that respectfully includes thinkers from Brahmanical, Buddhist, and Jain traditions. The Isibhasiyaim mentions 45 Rishis, with Narada being the subject of the first discussion. Here, Narada is described with highly honored epithets like "Arhat," "Deva," "Siddha," "Buddha," "Mukta," and "Virata." His teachings on the Chaturyama Dharma (fourfold restraint, including non-violence) are presented. The presence of Narada in such a revered position, predating Mahavira, indicates a strong tradition of respecting him within Jainism, a tradition that has been a starting point for this research.

The text highlights a key difference in interpreting "Shrotavya" (that which is to be heard). While Jain tradition grants the status of "shrotavya" to the Chaturyama Dharma taught by Narada, the Vedic tradition emphasizes namasankirtan (chanting of names) and gayan (singing) as "shrotavya," as seen in the Rigveda and the Ramayana. The Bhagavat Purana further elaborates on shravana (listening) as the first form of Navavidha Bhakti (ninefold devotion). While Jainism acknowledges the importance of listening, it doesn't place as much emphasis on namasankirtan or shravana at a primary level as the Vedic tradition does. Therefore, Jainism interprets "Shrotavya" in terms of the great vows to be heard.

In the concluding verse of Isibhasiyaim, Narada calls truth, alms-begging (bhikshacharya), and celibacy as "upadhana" or "sheltering austerities." This idea is linked to later Jain texts like Avashyak Niryukti, where "shoya" is explained as "shaucha" (purity) and "shaucha" as "truth." This also implies that a monk doesn't accept alms without first delivering a discourse. Jain tradition, unlike Hindu Puranas, maintained Narada's celibate status, not portraying him as married with descendants.

The Isibhasiyaim also describes Narada as one who wanders everywhere and always, yet remains detached and free from worldly attachments due to his nirmamatva (non-possessiveness). Both traditions seem to have preserved this aspect of his boundless wandering and detachment.

The author posits that despite transformations in the Puranic tradition, the respectful position of Narada in contemporary texts like the Acharanga continued to influence Jain writers and literature. The difficulty faced by Jain scholars in reconciling seemingly contradictory opinions and attributes about Narada is seen as the reason for their "sambhramavastha" (state of confusion or ambivalence).

Narada in Different Jain Texts:

Sthananga: While Isibhasiyaim describes Narada as "Siddha-Buddha-Mukta," Sthananga places him in the celestial realm as a Vyanter Deva (intermediate deity). His role as a Vyanter Deva is considered secondary, given his universal travel. He is categorized under the "Gandharva" sub-division due to his proficiency in music. The text supports this by stating that individuals with Gandhara-like voices are skilled singers and well-versed in arts and scriptures. Here, the "Shrotavya" from Isibhasiyaim might be interpreted as "audible music."
Samavayaanga: This text identifies Narada as a future Tirthankara (21st Tirthankara of the upcoming ascending cycle in Bharat Kshetra). While this bestows honor, it doesn't grant him the same revered status as being "Siddha-Buddha-Mukta" in the same lifetime, as presented in Isibhasiyaim. The text notes the close association between Narada and Vasudeva Krishna in both traditions, and paradoxically, Krishna's initial descent into hell while Narada does not, is highlighted. The author suggests this is because Jain tradition considers Narada a Rishi, a wanderer, and an opponent of sacrificial animal slaughter.
Bhagavati Sutra: Narada is mentioned as "Naradputra Angar," possibly referring to the tradition of Naradiya Parivrajakas. He is considered a contemporary of Krishna and Arishtanemi. His dialogue with Mahavira is noted as a temporal anomaly. In discussions about atomic matter, "Naradputra Angar" engages with "Nirgranthiputra Angar," showcasing an exchange of ideas between Jain and Brahmanical traditions.
Tattvartha Sutra: In its section on celestial beings (Daivatashastra), Tattvartha Sutra identifies Narada as one of the twelve types of Gandharvas within the Vyanter Deva category. This is supported by the Pannavna text. The text also mentions that Vyanter Devas possess avadhijnana (clairvoyance). The ability of Narada to know all three worlds is evident here, as in the Ramayana and Bhagavat Purana. The chapter on Lokantik Devas (attendant deities) refers to them as "Devarshis" (celestial sages), numbering nine. While "Devarshi Narada" is not explicitly mentioned, the characteristics described—being of limited transmigration, beyond sensual pleasures, worshipped by gods, possessors of fourteen Purvas, and Tirthankaras—closely align with Narada's personality. The author notes that while Vedic tradition also calls celestial sages "Devarshis," Jainism, in Tattvartha Sutra, uses the term "Devarshi" to indirectly acknowledge the respected Narada without explicitly naming him in the list of Lokantik Devas.
Jnatadharmakatha: This text presents a strikingly different depiction of Narada as "Kachchullanarad" (quarrelsome or ill-clad Narada). He is described in detail as a physically imposing, outwardly virtuous but inwardly corrupt individual, fond of conflict and gossip. He incites King Padmanabha to abduct Draupadi, leading to her later rescue by Krishna. The term "Kachchulla" is unique to this text and highlights the negative aspects of Narada. The author suggests that the Jnatadharmakatha reflects a growing sectarian bias in Jainism, as this narrative of Draupadi's abduction is not found in earlier traditions. This depiction has influenced later Jain literature. While Brahmanical traditions also mention Narada's penchant for creating conflicts, they often portray the outcomes as ultimately beneficial, as seen in the Aitareya Brahmana, where Narada's actions avert human sacrifice.
Aupapatika: Narada is mentioned as one of the eight types of Brahmanical wanderers. However, specific details and narratives are absent, with only the teachings of the "Naradiya Parivrajakas" on charity, purity, and pilgrimage described. The commentator suggests that these wanderers were devotees of Krishna and their practice involved preaching and singing praises. They were predicted to attain celestial or Brahmaloka realms.
Avashyak Niryukti and Commentary: For the first time, details about Narada's parents and upbringing appear here. His parents are named Yajnyayash and Somayasha, indicating his Brahmanical heritage. The text mentions his asceticism and adherence to the unchavritti (gleaning livelihood) as described in the Mahabharata. The support of Jrmbhaka Devas and the study of texts like Pragnyapti suggest his proximity to the Sramana tradition. In a story, Vasudeva Krishna asks Narada about the meaning of "shaucha." Narada learns from Simandhar Swami that "shaucha" means "truth." Krishna prompts Narada to reflect on truth, leading to his jatismaran (recollection of past lives) and his becoming a pratyekabuddha (individually enlightened being). Haribhadra Suri, the commentator, interprets the "shrotavya" from Isibhasiyaim as "shaucha" (purity) and states that this pratyekabuddha Narada is the one who delivers the discourse in the Isibhasiyaim. Haribhadra, a former Brahmanical scholar, was aware of texts like the Manusmriti, which emphasized mental purity and truthful conduct over ritualistic purity. While Haribhadra also mentions Narada's involvement in the Rukmini episode in the Dasavaikalika commentary, he clearly favors the honored portrayal of Narada found in Isibhasiyaim.
Tattvartha Sutra (Daivatashastra): The text reiterates Narada's presence in the Gandharva subdivision of Vyanter Devas and also identifies Lokantik Devas as "Devarshis."
Trilokaprajnaapti: This 7th-century text is unique in listing nine "Naradas" per era, all identified as "Atirudra" (fiercely destructive), prone to causing others to weep, and associated with sin, conflict, and great wars. Like Vasudevas, they are said to attain hell. This starkly contrasts with the earlier reverential portrayal. The author suggests this extreme negativity might be a form of "poetic justice" for the quarrelesome aspects of Narada, while still acknowledging his future liberation (Siddhagati).
Paumachariyam (Vimalasuri): Vimalasuri's Jain Ramayana integrates Narada into the Ramayana narrative in a unique way. He uses Narada as a "myth" to bridge inconsistencies in the Valmiki Ramayana, connect Ram with Krishna, highlight Sita's plight, and inform the populace about events. Narada's role in opposing ritualistic violence, his Brahmanical characteristics, and his emotional responses are all utilized. The author notes that while Narada's presence is not common in later Jain Ramayanas, Vimalasuri's usage demonstrates a "poetic vision" rather than a historical one.
Vasudevahindi: This text presents various forms of Narada. It mentions him as a Devanarad (celestial Narada) associated with singing and virtues, akin to Tumburu. It also describes an "ahimsavadi Brahmana Narada" who interprets sacrificial injunctions non-violently, emphasizing the sentience of plants and advocating for non-violent rituals. This Narada eventually renounces the world. It also features "Neminarad," associated with Nemi (Arishtanemi) and Krishna, who is praised by Vasudeva as an ornament to their lineage. Lastly, it touches upon "Kachchullanarad," echoing the depiction in Jnatadharmakatha, but the author of Vasudevahindi seems more inclined towards the respectful portrayal, avoiding the more negative incidents. The author notes that Vasudevahindi's author seems confused about whether Narada is one, two, or many, but leans towards the respectful depiction.
Akhyana Manikosha Commentary: This 12th-century text focuses on Narada's quarrelsome and warlike nature, drawing inspiration from Jnatadharmakatha. It presents selective narratives, often with temporal distortions, highlighting his role in instigating conflicts between Ram and Ravana, and his involvement in the Draupadi abduction. His Brahmanical identity is maintained, but there's no mention of his individual enlightenment or renunciation.
Shilopadeshamaala: A verse in this text describes Narada as a "kalikarak" (creator of quarrels), "janamarak" (killer of people), and "savadyayoga nirata" (engrossed in sinful actions). The commentary attempts to reconcile this by attributing his eventual liberation to the power of sheela (virtuous conduct), which the author finds to be a peak of confusion.
Bhagavat Purana: The text notes the presence of contradictory elements regarding Narada in almost all its sections. While he is worshipped by Vyasa and is a son of Brahma, he also becomes a celibate due to Daksha's curse, causes conflict, and advises Kamsa. However, the Bhagavat Purana also contains passages that echo Sramana traditions, like Narada's discourse on non-violence as a form of sacrifice, aligning with ideas found in the Uttaradhyayana Sutra. The author highlights that the consistent, non-violent, and respected portrayal of Narada in Vedic texts up to the Mahabharata becomes mixed with negative attributes in the Bhagavat Purana, leading to confusion, yet maintaining an underlying respect.

Conclusion:

The earliest mention of Narada in Jain tradition is in the Ardhamagadhi text Isibhasiyaim, where he is revered as an Arhat, Rishi, and Deva, and even as Siddha, Buddha, and Mukta. This reflects the liberal and inclusive outlook of early Jain thinkers.

Over time, as new aspects were added to Narada's personality in Hindu Puranic traditions, Jain scholars also became hesitant in bestowing him with the highest honors. Influenced by social beliefs and sectarian biases, confusion arose regarding his portrayal. This led to a spectrum of views, ranging from complete respect to complete disrespect.

Jain scholars attempted to resolve this confusion individually:

Sthananga called him a celestial being.
Samavayaanga identified him as a future Tirthankara.
Bhagavati Sutra focused only on his curiosity.
Tattvartha Sutra assigned him two different positions in its celestial hierarchy.
Jnatadharmakatha depicted him solely as "Kachchullanarad."
Aupapatika spoke of the tradition of Naradiya Parivrajakas.
Avashyak Niryukti and its commentary presented a new origin story for Narada.
Trilokaprajnaapti described him as "Atirudra."
Shilopadeshamaala labeled him as "janamarak."
Vasudevahindi outlined his diverse forms.
Akhyana Manikosha portrayed him as quarrelsome.
Vimalasuri presented Narada as a "myth" in his epic.

The author emphasizes that these changes in Jain texts are often driven by the individual author's perspective rather than strict chronological development. The connection of Narada with devotional practices and congregational singing eventually led to his fading from prominent mention in Jain literature.

Overall, the paper highlights a significant shift in the portrayal of Narada within Jain literature. While early Jain texts held him in high esteem, later texts, influenced by the evolving Hindu traditions and internal Jain developments, presented a more ambivalent and sometimes negative image, reflecting a struggle to reconcile the differing perceptions of this influential sage.