Prabhu Satheni Gothaine Maniye - Book Summary

Here's a comprehensive summary of the provided Jain text, "Prabhu Satheni Gothaine Maniye" by Pradyumnasuri, based on the excerpt:

The text "Prabhu Satheni Gothaine Maniye" (Let's Enjoy the Conversation with the Lord) by Revered Muni Shri Pradyumnasuri explores the devotional relationship between a devotee and the divine, primarily through the lens of stavans (devotional hymns).

The author begins by describing the path to the divine. While there are three doors to enter the temple where the Lord resides – devotion, detachment, and knowledge – the true entrance to the inner sanctum is tallinata (absorption or deep focus). Reaching this state allows one to glimpse the divine light, the ultimate goal of a spiritual seeker.

Devotion as a Difficult Path: Pradyumnasuri emphasizes that while devotion appears to be the easiest path, it is, in fact, the most challenging. This is because it requires the complete dissolution of the ego ("aham" or "ahammood"). Devotion is described as "ekashesh" (only one remains), signifying that only the divine is left. The stages of devotion are outlined as: "Tvadri" (like you), "Tavaiverd" (truly yours), and finally, the realization of "I am you." This deep surrender leads to the Lord seemingly inhabiting the devotee's form, a complete effacement of self. The difficulty of this path is poignantly captured in a verse: "How can anything be connected with that unmanifest element? The word 'I,' the first person, comes in between!" The victory of the Lord lies in this annihilation of the ego, breaking down the barriers between the devotee and the divine, revealing everything to the Lord. This leads to an intimate communion, a conversation with God that is no longer private but shared with all.

The Nature of Stavans: Stavans are defined as these intimate conversations between the devotee and the Lord. The text highlights the stavans compiled by Muni Shri Bhuvanachandji Maharaj from the Stavan Chovishee by Shri Parshwachandra Suri, which offer beautiful glimpses of this divine union. The poet, having initiated a conversation with the Lord, then shares it as if it were witnessed directly, describing the contemplative posture of Lord Kunthunath, his unwavering gaze focused on his own nose tip, and his unspoken words.

Themes and Content of the Stavans: The author notes recurring themes in the poet's stavans:

The Struggle Against False Teachers and Beliefs: The poet frequently expresses his inner anguish regarding the company of false gurus ("kuguru sang"). He laments the implantation of such falsehoods in the mind, leading to bowing before false gurus and deities, which is experienced by all living beings. He resolves to abandon false gurus and embrace true ones.
Critique of Heretical Practices: The poet also refers to the "three hundred and sixty-three heretics" and their practices, stating that while they may adopt the Jina's dharma, they miss its essence without a true guru. He calls for the removal of obstacles created by these prevalent falsehoods and adherence to the Lord's commands.
Sorrow over Sectarian Divisions: The poet expresses regret over the prevailing divisions within his spiritual lineage (gachha) during his time. He laments the overturning of scriptural teachings and the establishment of individual sects, questioning how one can attain the true vision under such circumstances. He expresses a plea for divine grace to resolve these issues and break the bonds of worldly suffering.
Praise for True Conduct: The poet's devotion extends to recognizing the pure conduct of monks when he encounters it, reinforcing the importance of steadfastness in faith. He draws parallels with the Bhagavati Sutra's opening phrase, "Namo Gambhie Livie," and relates it to discarding misguided views in favor of true understanding.
Scholarly Depth and Linguistic Prowess: The stavans are lauded for their clear and refined language, artistic expression, and the skillful weaving of profound philosophical concepts from the Karmagrantha into accessible Gujarati verses. The poet's mastery of both subject matter and language is evident. Specific examples cited include the discussion of dharma-adharma in the stavan of Lord Arhanath, the depiction of spiritual states (gunasthan) in the stavan of Lord Munisuvratasvami, the beautiful integration of the fourteen dreams in the stavan of Lord Parshvanath, and the successful use of similes from the Kalpasutra in the stavan of Lord Dharmanath.
Encountering the Issues of the Time: The poet's era is identified as the 16th century Vikram Samvat, a time when the Sthanakavasi sect was emerging. Consequently, his reflections also touch upon these contemporary issues.

The Concept of Sthapananikshep (Iconographic Representation): The text discusses sthapana-nikshep, or the concept of representation, particularly concerning idols. The poet expresses his personal realization that seeing a pure image of the Jina inspires true faith.

Illustrative Anecdotes:

Nemi Nath's Attainment of Right Faith: The stavan dedicated to Lord Neminath's attainment of samyak-darshan (right faith) is highlighted, and in connection, the poet's firm assertion of the monks' pure conduct in the stavan of Lord Mahavir Swami is noted as impactful.
The Story of Dhana and Dhanvati: The text recounts the story of Dhana and Dhanvati from the Trishashti (Sixty-three). During a hot summer day, the couple seeks refuge in a cool grove. Dhanvati sees a monk overcome by the heat and suffering from heatstroke. She calls out to Dhana, who rushes to provide him with water and cool treatment. When asked about his condition, the monk explains that the hardship is for future benefit and does not pain him as much as the cycle of birth and death. Hearing this, Dhana is astonished and, by serving the monk, attains right faith. The text notes that this story is condensed into just two lines in the stavan, creating a striking contrast between the effort required for liberation and the effortless grace of the Lord.

Artistic Merit and Conclusion: The stavans are praised for their innovative theme selection and the absence of repetitive content. The text quotes a Prakrit verse that beautifully captures the essence of prabhu-bhakti (devotion to the Lord) as a sweet well in the bitter world, and assures readers they will experience this same sweetness when enjoying these stavans. The author observes that the poet has used fewer deshi (folk tunes) and more chhandas (metrical patterns) in his compositions, such as Upajati, Bhujangaprayat, and Chaupai. This is significant as metric forms had largely disappeared from Gujarati stavans from the 17th-18th centuries onwards, indicating these compositions predate that period.