Prachin Jain Ram Sahitya Me Sita - Book Summary

This document is a chapter from a book titled "Prachin Jain Ram Sahitya me Sita" by Dr. Lakshminarayan Dubey, published by Z_Tirthankar_Mahavir_Smruti_Granth_012001.pdf. The catalog link provided is https://jainqq.org/explore/211422/1. The material is for JAIN EDUCATION INTERNATIONAL FOR PRIVATE AND PERSONAL USE ONLY.

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Ancient Jain Ram Literature and Sita

The chapter discusses the rich tradition of Ram literature and poetry within Jainism. It highlights that Jain Ram literature, largely influenced by the Valmiki Ramayana, is found in Prakrit, Sanskrit, Apabhramsa, and Kannada.

Key Jain Ram Literature:

Prakrit: Pattumachariyam by Vimal Suri, Ramlakkhan Charitam by Shilacharya, Ramayanam in Kahavti by Bhadeshwar, and Ramlakkhanacharit by Bhuvanituranga Suri.
Sanskrit: Padmacharitra by Raviṣena, Jain Ramayana by Acharya Hemachandra, Ramdev Purana by Jinda, Ramcharit by Padmadeva Vijayagani and Somasena, Laghu Trishalaka Purush Charitra by Acharya Somaprabh, and Laghu Trishtishalaka Purusha Charitra by Meghavijaya Ganivar.
Apabhramsa: Pattumachariu by Swayambhu and Padma Purana.
Kannada: Ramachandra Charita Purana by Nagachandra, Ramayana by Kumundendu, Ramavijaya Charita by Devaya, Ramakathaavatar by Devachandra, and Jina Ramayana by Chandrasagara.

Jain Sita Literature:

Specific literary works focusing on Sita are also mentioned:

Sita Charitra (Prakrit) by Bhuvanituranga Suri.
Sita Ravana Kathana (Sanskrit) by Acharya Hemachandra.
Sitacharitra (Sanskrit) by Brahm Nimidatta, Shanta Suri, and Amardas.
Sitakathanam by Harisena.
Maithili Kalyan (Sanskrit drama) by Harit Mahal.

Two Traditions of Jain Ram Katha:

The text identifies two main traditions:

Vimal Suri's Tradition: This tradition, prevalent in both Shvetambara and Digambara sects, is more widely adopted.
Gunabhadra's Tradition: This tradition, found in Uttara Purana and Punya Chandrodaya Purana by Krishnadas Kavi, is primarily associated with the Digambara sect.

Sita in Jain Drama and Narrative:

Beyond poetry, Sita is also depicted in Jain dramas and narrative literature. Maithili Kalyan by Hastimalla (around 1290 CE) is mentioned, focusing on the romance of Ram and Sita, their meetings in the Kamadeva temple and Madhavi forest, and their marriage.

Sita's Birthplace and Parentage in Jain Literature:

Vasudevahindi by Sampadas (Jain Maharashtrian prose) is cited as the first to identify Lanka as Sita's birthplace, making her the daughter of Mandodari and Ravana, who was later adopted by King Janaka. In Vasudevahindi, Sita chooses Ram during the swayamvara. This narrative also influenced Gunabhadra's Uttara Purana regarding Ravana's lineage and Sita's birth story.

Chronological Pillars of Ancient Jain Ram Literature:

The text lists key poets and their works chronologically:

Vimal Suri: Pattumachariyam (3rd-4th century CE) (Prakrit)
Raviṣena: Padmacharitra (660 CE) (Sanskrit) - considered the oldest Jain Sanskrit text.
Swayambhu: Pattumachariu or Ramayana Purana (8th century CE) (Apabhramsa)
Gunabhadra: Uttara Purana (9th century CE) (Sanskrit)

These texts, according to the author, offer comprehensive insights into various aspects of Sita's character.

Sita in Vimal Suri and Gunabhadra:

Vimal Suri's Sita: Vimal Suri's Pattumachariyam explains Sita's abduction. Shambuka's penance for the Surya Hasa sword is mentioned. Lakshmana beheads Shambuka, leading to Shurpanakha's lament. Shurpanakha proposes to Ram and Lakshmana. Ravana, attracted to Sita, uses the Avlokani Vidyā to learn about Lakshmana's signal to call Ram. He cunningly uses the signal to separate Lakshmana from Sita and abducts her. In the Pattumachariyam, after entering Lanka, Ram immediately goes to Sita. Their reunion is witnessed by celestial beings who attest to Sita's pure character. There is no mention of any doubt by Ram or an Agni Pariksha (trial by fire) for Sita.
Gunabhadra's Sita: In Uttara Purana, Sita is accepted by Ram without an examination. Sita takes religious vows along with many queens. Ultimately, Sita attains heaven.

Sita in Swayambhu:

Swayambhu's Pattumachariu depicts a mute Sita. Seers predict the destruction of Ravana and demons due to Sita. Swayambhu attributes a divine and unique character to Sita. The text quotes verses from Pattumachariu about the destruction of Rakshasas due to Sita and her innate character, where she considers herself unfortunate due to Ravana's temptations. Sita's unwavering virtue is praised, and she eventually declares her resolve not to be a wife again.

Sita's Exile (Nirvasan) in Jain Ram Literature:

Origin of the narrative: Valmiki is credited with introducing the story of Sita's exile.
Absence in some texts: Gunabhadra's Uttara Purana does not discuss Sita's exile. However, most Jain Ram literature accepts this event.
Reasons for exile:
- Public Slander (Lokapavada): This is presented in Vimal Suri's Pattumachariyam and Raviṣena's Padmacharitra. Swayambhu analyzes the background of this slander, where women in Ayodhya argue that if Sita can be acceptable to Ram after staying with Ravana, then women returning home after a brief absence should also be accepted. This leads to gossip in the city. Due to the honor of the Ram lineage, Sita is exiled. The Pattumachariyam is rich with poignant moments, but the exile is described as the most tragic and profound. Vibhishana and Trijata testify to Sita's innocence. Finally, Sita undergoes an Agni Pariksha.
- The Washerman's Tale: This specific account is not found in Jain Ram literature.
- Ravana's Portrait: The earliest mention of this episode is in Jain Ram literature. Haribhadra Suri's Upadesha Pada (8th century) suggests Sita drawing a portrait of Ravana's feet. The commentator Muni Chandrasuri (12th century) explains that Sita, instigated by a jealous co-wife, drew Ravana's feet. This picture was shown to Ram by the co-wife, leading to Sita's abandonment.
- Bhadeshwar's Kahavali: This account states that when Sita became pregnant, her jealous co-wives insisted she draw a portrait of Ravana's feet. This was presented to Ram as proof of Sita remembering Ravana. Ram ignored it. The co-wives spread the story among the populace. Ram, in disguise, overheard gossip in the royal garden. On Ram's orders, Krutantavadan left Sita in the forest under the guise of a pilgrimage. Later, Ram, along with Lakshmana and Vidyadhara, searched for Sita in a chariot but assumed she had been killed by wild animals.
- Hemachandra's Jain Ramayana: This text also presents a similar narrative. Citizens discussed the slander against Sita, which Ram deemed true.
- Devavijayagani's Jain Ramayana: In this work, women complain to Ram that Sita worships Ravana's feet.
Sita's Defense: The chapter highlights Sita's confident and spirited reply to a doubtful Ram who censures women's character. Sita uses analogies: Ganga water becomes impure but people bathe in it; the moon is blemished but its radiance is pure; dark clouds are dark but lightning within them is bright; stones are unholy, but consecrated idols made from them are anointed with sandalwood; lotuses grow from mud but are offered to Jain Tirthankaras; lamps are black but illuminate homes. She draws a parallel between trees and creepers, where the creeper remains attached to the tree even after drying.
Sita's subsequent life: Sita then proceeds for asceticism. Swayambhu portrays Sita as full of sensitivity, deserving of readers' pity, sympathy, and empathy.
Ram's assumption of Sita's death: In Yogashastra (12th century), an event is described where Ram searches for Sita but cannot find her. Believing she might have been killed by a wild animal, he performs her funeral rites.
Sita's foresight in Pattumachariu: The Pattumachariu (chapters 92-94) describes Sita's exile. After returning from Lanka, the gossip of the public is mentioned. Ram orders his general, Krutantavadan, to leave Sita in the forest on the pretext of showing her Jain temples. In the forest, Vajrajangha, the king of Pundarikpur, hears Sita's cry and takes her to his abode, where Sita gives birth to two sons.

Influence of Jain Sita Portrait Narrative on Indian Ramayanas:

The Jain tradition of Sita drawing Ravana's portrait had a significant impact on other Indian Ramayanas:

Krishnavas Ramayana (Bengal): Sita, inspired by friends, draws a portrait of Ravana.
Ramavatar Katha (Guru Gobind Singh): Ram's suspicion of Sita arises due to the Ravana portrait.
Ananda Ramayana (Sanskrit): Kaiyaka prompts Sita to draw only Ravana's thumb, which Kaiyaka completes and shows to Ram, criticizing women's character.
Kashmiri Ramayana: Divakar Bhat attributes Sita's exile to the Ravana portrait, drawn at the behest of Ram's sister.
Ramayana Manusar (Gujarati): Sita is seen drawing Ravana's portrait and talking to her maid about it.
Jain Hindi Ramkatha Padam Purana: Daulat Ram also mentions the Ravana portrait.
Folk Songs: The reason for Sita's abandonment in folk songs is consistently the creation of Ravana's portrait. Sita's artistic talent is noted from before her marriage.

Influence of Jain Ravana Portrait Narrative on Folk Songs:

Folk songs adopted this motif, depicting Sita's exile poignantly. An Avadhi Sohar folk song describes Sita drawing Ravana's portrait at her sister-in-law's suggestion. A Bundeli folk song also attributes Sita's exile to the Ravana portrait.

Influence of Jain Ravana Portrait Narrative on Foreign Ramkatha:

Javanese 'Surat Kanda': Kaikeyi herself draws Ravana's portrait on Sita's fan.
'Hikayat Seri Ram': Kiki Devi (Ram's sister) makes Sita draw Ravana's portrait on a fan. Kiki places it on Sita's chest and accuses her of kissing it before sleeping. Ram believes Kiki.
'Hikayat Maharaj Ravana' (Hindeshiyas): After Ravana's death, Ram stays in Lanka for seven months. Ravana's daughter places a portrait of her father on the sleeping Sita's chest. Sita kisses it in her sleep, and Ram witnesses this, becoming enraged.
'Ramketi' (Khmer): An attendant makes Sita draw Ravana's portrait, into which she enters. Sita cannot erase it and hides it. When Ram lies on the bed, he develops a high fever. Upon discovering the portrait, he orders Sita's execution in the forest.
'Ram Kien' (Siam): Al, Shurpanakha's daughter, makes Sita draw Ravana's portrait and enters it, making it impossible to erase.
'Ram Jatak' (Laos): Sita's exile is due to the Ravana portrait.
'Brahmachakra' or 'Pompanaka' (Laos): Shurpanakha, in disguise, draws the portrait with Sita.
'Bai Ramayana' (Thailand): The portrait is discussed extensively.
Sinhala Ramkatha: Uma makes Sita draw Ravana's portrait on a banana leaf. Ram's arrival causes Sita to hide it under the bed. Ram sits on the bed, and it shakes. Ram becomes angry upon learning the reason.

The text concludes that the Jain literary tradition is the origin of this widespread motif of the Ravana portrait that has spread to foreign Ramkatha.

Thematic Integration and Conclusion:

The chapter summarizes that the entire Jain Ram literature is replete with various forms and images of Sita. Jain poets have successfully molded her character according to their religious sects and principles. A significant contribution of Jain Ram literature to Indian literature is its portrayal of Sita as akin to a daughter of the earth. The chapter also briefly mentions the medieval Jain Ramkatha tradition in Hindi, including works by Munilavanya, Jinrajsuri, and Brahm Jinda.