Prakashni Hadfetma Andhakar Tatha Suvarnabahu Rajano TapovanVihar

This document is a Jain text titled "Prakashni Hadfetma Andhakar tatha Suvarnabahu Rajano Tapovan Vihar" (In the Grip of Light, Darkness; and the Forest Retreat of King Suvarnabahu) by Nyayavijay. The publisher is Chunilal Ghelachand Kapadia.

The book contains two main essays:

1. "Prakashni Hadfetma Andhakar" (In the Grip of Light, Darkness): This section narrates the life story of Shri Parshvadeva, the 23rd Jain Tirthankara, focusing on His previous births. It begins by explaining the Jain concept of the soul's journey through countless lives (bhav). The author states that when describing the past lives of great souls like Tirthankaras, it is appropriate to start from the life where their spiritual development or self-awareness first began. For Shri Parshvadeva, who lived in the 9th century BCE, the text details ten of His past lives.

   A key narrative thread in this section is the recurring conflict between Mbabhuti (representing the soul that would become Parshvadeva) and Kamath.

   • In one significant past life, Mbabhuti was the son of a priest. Through good company, he attained religious insight. However, his brother Kamath, involved in misconduct with Mbabhuti's wife, became enraged and harbored a deep-seated enmity towards Mbabhuti. This animosity followed Kamath through subsequent lives, leading him to cause harm to Mbabhuti's soul in various forms (like a wild animal or a snake).
   • Conversely, Mbabhuti's soul, free from enmity and consistently nurturing religious sentiments, progressed towards higher spiritual states and enlightenment, becoming increasingly luminous.
   • The text emphasizes the stark contrast between the "luminous consciousness" (Prakashmati) that endures adversity with equanimity and the "dark consciousness" (Andhkar) driven by hatred and vengeance. The former leads to spiritual ascent, while the latter results in a downward spiral of suffering.
   • The narrative traces this karmic cycle through various births where the soul destined to be Parshvadeva experiences suffering due to Kamath's actions, but always maintains its righteous path, leading to higher rebirths (like heavenly realms). Meanwhile, Kamath's soul, driven by hatred, falls into lower realms (like hellish states).
   • The story culminates with the souls of Mbabhuti and Kamath reincarnating as Prince Parshva and Katha (a Brahmin mendicant) respectively. Parshva, embodying divine compassion, warns Katha against practicing penance without compassion, highlighting that true dharma is rooted in kindness. Katha, consumed by ego and jealousy, rejects this advice. Parshva's actions expose Katha's fraudulent penance (a serpent burning within a log he uses for fire). The serpent, blessed by Parshva's compassionate gaze, is reborn as the Naga king Dharanendra. Katha, filled with envy, is reborn as Meghamali, a celestial being who later harasses Parshva. Dharanendra, grateful to Parshva, protects him from Meghamali's torment. The cycle of enmity between the souls of Mbabhuti and Kamath finally ends here, with Parshva achieving Keval Gyan (omniscience) and liberation.

2. "Suvarnabahu Rajano Tapovan Vihar" (The Forest Retreat of King Suvarnabahu): This section presents an incident from the life of King Suvarnabahu, who is a previous incarnation of Shri Parshvadeva. The author notes that this passage is inspired by and reminiscent of Mahakavi Kalidasa's famous play, "Abhijñānaśākuntalam" (The Recognition of Shakuntala).

   The narrative describes King Suvarnabahu's visit to a beautiful hermitage. While observing the ascetic hermits, his right eye twitches, signifying auspicious future events. He then encounters a beautiful Muni Kanyaka (hermit's daughter) named Padma, who is diligently watering plants with her friend. The king is deeply impressed by her beauty, finding her surpassing even celestial nymphs. He is struck by the juxtaposition of her refined appearance with the humble tasks she performs. He suspects she is not an ordinary hermit's daughter but likely a princess.

   A bee bothers Padma, and in her distress, she calls out for help. Her friend suggests that only King Suvarnabahu can save her, implying he should be summoned if he cares for the hermitage. King Suvarnabahu reveals himself. The girls are startled. He reassures them and asks if their penance is proceeding without hindrance. They confirm that under his reign, no one dares to disrupt their asceticism. Padma's friend then explains that the bee was bothering Padma, and they ask the king to reveal his identity.

   The king explains that he is present to ensure the smooth conduct of penance, as appointed by the king. He inquires about Padma's situation. Her friend reveals that Padma is the daughter of a Vidyadhar king and her mother brought her to the hermitage of her brother, Kulapati Galav, after the Vidyadhar king's death led to civil unrest. A sage had predicted that King Suvarnabahu, whose chariot was stolen by a horse, would marry Padma. The king realizes that the horse theft was a divine plan for their union.

   The narrative continues with the arrival of Kulapati Galav and Padma's mother, Ratnavali. Galav confirms the sage's prophecy and encourages the king to marry Padma, as she is destined to be his wife. The king, impressed by Padma and the divine prophecy, agrees. Padma's mother gives her poignant advice on being a devoted wife, emphasizing duty, respect for in-laws, and equitable treatment of co-wives, urging her to forget her simpler forest life. Padma then bids farewell to her mother and the hermitage, embracing her new role.

   The book concludes by reiterating King Suvarnabahu's eventual renunciation of worldly pleasures and his attainment of spiritual knowledge, leading him to become Tirthankara Parshva.

The text highlights the Jain principles of karma, rebirth, the impact of past actions, the importance of righteous conduct (dharma), and the path to spiritual liberation through detachment from worldly desires and the cultivation of virtues like compassion and equanimity. The comparison to Kalidasa's "Abhijñānaśākuntalam" in the second part draws parallels between the encounter of Dushyanta and Shakuntala and that of Suvarnabahu and Padma, focusing on themes of love, duty, and divine intervention in their lives.