Padmaparag

This document is a collection of short stories titled "Padmaparag" (પદ્મપરાગ) by Ratilal Dipchand Desai. Published by Shri Jaybhikkhu Sahitya Trust in Ahmedabad, it is the twelfth publication of the trust. The book was first published in January 1974 (Mahavir Nirwan Samvat 2500 / Vikram Samvat 2030) and this is its second edition.

The book is dedicated to Shri Kara Saheb (Shri Kantilal Dahyabhai Kara), described as an ideal silent worker and a lifelong friend.

The "Nivedan" (Foreword) by Shri Jaybhikkhu Sahitya Trust highlights their aim to publish literature that upholds the essence of religion and history, and promotes humanitarian values, following the legacy of Shri Jaybhikkhu. They mention previous publications like "Lili Lili Viryali" (inspirational stories), "Loh ane Paras" (stories about Gandhiji), "Drashta ane Srashta" (collection of essays on poets and artists), "Jaybhikkhu Smrutigranth" (a memorial volume), and "Vashahi ane Parvat" (historical stories related to Shatrunjay). They note that "Loh ane Paras" and "Drashta ane Srashta" are now out of print, indicating the popularity of their books. They also mention republications of Jaybhikkhu's novels and a biography of Lord Mahavir, as well as inspirational works by Kumarpal Desai. The Trust expresses its commitment to preserving love, morality, and faith amidst the erosion of human values.

The "Swagat" (Welcome/Introduction) is written by Ramprasad B. Baxi and serves as an introduction to the "Shri Jagmohanadas Kera Smarak Pustakmala," of which "Padmaparag" is the third book. Baxi expresses his honor in writing this introduction, stemming from his affectionate relationship with the Kera family. He recalls his college friendship with Chhotubhai Kera and his appreciation for the Kera family's amiability, integrity, skill, and brilliance. He notes that the book series, conceived in memory of the late Jagmohanadas Kera, aims to spread the fragrance of remembrance through its publications. He mentions that the first book, "Char Tirthankar," received an award for the best biographical work from the Mumbai government, and the second book, "Dhoop Sugandh," was a collection of stories that captured the diversity of human life.

Baxi then focuses on "Padmaparag," stating it contains nine religious-ethical stories written by Ratilal Dipchand Desai, who is already known for his story collections like "Abhishek," "Suvarnakankan," and "Rag ane Virag."

He summarizes the nine stories:

1. "Na Mare Ver ke Dvesh" (I have no enmity or hatred): This story is about the renunciation and penance of two Tirthankaras who believed in the ultimate dharma of detachment. The first story highlights the glory of the renunciation of Lord Parshvanath (the 23rd Tirthankara), and the second recounts twenty-one sacred incidents from the noble life of Lord Mahavir Swami (the 24th Tirthankara). The stories emphasize the spirit of renunciation inspired by these Tirthankaras, which influenced many kings.
2. "Padmaparag" (The story of the title itself): This story illustrates the impact of renunciation through other extraordinary events.
3. "Lokbhasha No Jay" (Victory of Vernacular Language): This story narrates the incident where Muni Vriddhavadisuri, in a debate with Pandit Siddhasen, achieved victory by using the vernacular language. Though the victory of the vernacular language was incidental, with an illiterate cowherd being the mediator, it highlights the significance of using Prakrit in Jain scriptures.
4. The next four stories delve into the 9th, 11th, and 13th centuries of history. Their themes include: Yograj's great atonement to erase the stain on the Chavada dynasty; an incident that proves the affectionate and generous relationship between the Brahman and Shramana during Durlabhraj Solanki's era; the glory of Mulraj's compassion in exempting the state's farmers from taxes; and the auspicious event where the famous minister Vastupala of Dhrolka valued the spirit of complete surrender of an indigent person more than a hundred thousand kamma.
5. The ninth and final story is about the great story of Gyan Panchami.

Baxi observes that these stories follow a method of making factual religious or historical narratives as interesting as possible. Since they adhere to traditional accounts, the author has little room for imaginative inventions. The moral message of each story is largely predetermined, and there is rarely an opportunity to test life values or present new perspectives through events. The artistic merit of the stories lies in the creative structuring of the original material, the narrative power of the language used, and the embellishments.

He further discusses the author's approach, noting that while an author can creatively reconstruct historical events, tampering with established and revered historical occurrences can risk distorting the core values. He praises Desai for limiting his artistic expression to the narrative art, the beauty of language, and the use of literary devices, which aligns with his intended goal. Desai's stories are structured to pique and satisfy the reader's curiosity, placed in their proper time and place, with restraint from adding excessive details. Religious doctrines are presented separately, like appendices, without disrupting the narrative flow. In the story titled "Padmaparag," the simile used is extensive, with the analogy of the lotus being fully presented to introduce the main theme. Desai's writing style is described as refined and lucid, a given for someone experienced in such stories. He also notes the use of shorter sentences, akin to children's stories, to avoid monotony, as long as they are not overused.

Baxi then reflects on a unique aspect of Jain literature: just as the lives of Rama, Krishna, and epics like the Ramayana and Mahabharata provided ample material for Brahminical literature creators, the lives of Tirthankaras and Ganadharas, along with relevant texts, provided material for Shramana culture's authors. However, Jain tradition offers a wealth of other stories that might not be found in other traditions. These are not mere illustrative stories or sub-plots but true accounts of kings, queens, merchants, common people, and even courtesans influenced by Lord Mahavir's teachings. These stories serve as evidence of how many were inspired by Mahavir's renunciation, penance, compassion, and knowledge. Baxi believes this narrative richness encourages writers like Jaybhikkhu and Ratilal Desai to present these stories to the readers in an engaging manner.

He concludes by highlighting two significant points from this narrative wealth in the context of today's world: the spirit of tolerance and broad-mindedness inherent in the Jain philosophy of Anekantavada, and the conviction, supported by experience, that dominance on Earth cannot be achieved through brute force. He welcomes these stories, which aim to protect, nourish, and enhance human virtues, considering them the ultimate goal.

The "Prasangik" (Occasional) section contains the author's note for the first edition and a note for the second edition. In the first edition note (dated August 15, 1961), Ratilal Desai states that he doesn't feel the need to critically analyze the stories themselves, believing they should speak for themselves through their content, presentation, style, language, and sweetness or complexity. He also humbly states he doesn't claim to be a master of modern short story art, making further discussion unnecessary. However, he acknowledges a readership that appreciates stories filled with emotion, humanity, generosity, tolerance, renunciation, sacrifice, and forbearance, even if they lack modern short story elements. He thanks his editor friends who encouraged him to write such stories. He expresses his joy and satisfaction that these stories are being published in book form as "Padmaparag." He credits his friend Shri Kantibhai Kara for making this collection possible and thanks Shri Ramprasad B. Baxi for writing the "Swagat" despite his ill health. He also mentions that his brother, Shri Jaybhikkhu, has read the stories and made some improvements, which he considers invaluable.

In the second edition note (dated December 20, 1973), Ratilal Desai expresses his happiness that this story collection, the third book in the "Shri Jagmohanadas Kera Smarak Pustakmala," is being reprinted due to the goodwill of the trustees of Shri Jaybhikkhu Sahitya Trust, as it had been out of print for some time.

The "Anukraman" (Index) lists the titles of the twenty-one stories, followed by page numbers. The stories are grouped under three headings:

1. "Na Mare Ver ke Dvesh" (I have no enmity or hatred): This section contains 14 stories, with the first two being about Lord Mahavir's life.
2. Stories related to historical periods: This section contains 9 stories, numbered from 3 to 11, covering historical events and figures.
3. Stories related to Lord Mahavir's life: This section contains 7 stories, numbered from 12 to 21.

The following are the titles of the stories:

1. Na Mare Ver ke Dvesh (I have no enmity or hatred)
2. Padmaparag (The title story)
3. Vadal ne Amar Rang (Cloud's eternal color)
4. Saurabh Bichari Shu Kare? (What can the poor fragrance do?)
5. Aap Saman Bal Nahi (There is no strength like Yours)
6. Tyag Ni Khumari (Pride of Renunciation)
7. Kasht Sahine Pratāp (Glory of enduring hardship)
8. Sanyu Aava Chamatkar Thi (Sanyu by such a miracle!)
9. Dukh Te Sukh Ni Khān (Sorrow is a mine of happiness)
10. Krodh Na Kadva Phal (Bitter fruits of anger)
11. Aa Te Ātmāni Shitalta (This is the soul's coolness)
12. Sau Ne Māte Vatsalya (Affection for all)
13. Nahi Ras, Nahi Kas, Mātra Deh Ne Dāpu (No essence, no flavor, only offering the body)
14. Maru Karthu Me Bhogvyu (What I did, I have experienced)
15. Ajnan Na Urchednār (The destroyer of ignorance)
16. Rājā Hoy Ke Bhakt, Sau Na Karthā Sau Bhogve (Whether king or devotee, everyone reaps their own karma)
17. Dharma Kare Te Māte (He who practices Dharma)
18. Jñānī Gr̥hasth Ni Paṇ Prashansa (Even a knowledgeable householder is praised)
19. Parivrājak Nu Bahumān (Honoring the ascetic)
20. Gautam Māfī Māge (Gautam asks for forgiveness)
21. Deīne Tiraskār Na Kare! (One who does not insult when giving!)
22. Vanamānav Ne Sneh Tantu (The thread of affection of the forest-dweller)
23. Lokbhāshā Ne Jay (Victory of vernacular language)
24. Prayashchitt (Atonement)
25. Udāratā (Generosity)
26. Bhāngyā No Bheru (Friend of the broken)
27. Bhāvanā Nu Mul (The value of sentiment/emotion)
28. Jñānpañchamī (The story of Gyan Panchami)

The text then proceeds to present the stories themselves, starting with "Na Mare Ver ke Dvesh," which seems to be about Lord Parshvanath and Lord Mahavir, and the principle of non-enmity. The subsequent stories cover various moral, ethical, historical, and religious themes, often drawing from Jain tradition, historical anecdotes from Gujarat, and the lives of Tirthankaras and notable Jain figures. The stories emphasize virtues like renunciation, penance, truthfulness, compassion, forgiveness, wisdom, and the importance of righteous actions and their consequences.