Prastavana Trayi

Here's a comprehensive summary of the Jain text "Prastavana Trayi," based on the provided pages:

Book Title: Prastavana Trayi (प्रस्तावनात्रयी) Author(s): Shobhanmuni (Shobhan), Ajitsagarsuri (Ajitsagar) Publisher: Buddhisagarsuri Jain Gyanmandir (श्री बुद्धिसागरसूरि जैन ज्ञानमंदिर) Catalog Link: https://jainqq.org/explore/008638/1

Core Content and Purpose:

"Prastavana Trayi" (The Three Prefaces) is a collection of three introductory essays that serve as prefaces to a significant Jain work: "Jina Stuti Chatur Vimsatika" (जिनस्तुतिचतुर्विंशतिका) by the great poet Shobhanmuni (शोभनमुनि). This collection aims to provide readers with a comprehensive understanding of Shobhanmuni, his masterpiece, and the commentary on it.

The book itself is published by Shri Buddhisagarsuri Jain Gyanmandir and is part of the "Shri Ajitsagarsuri Granthamala," specifically volume 20. The original work, "Jina Stuti Chatur Vimsatika," is presented with a commentary called "Sarala" (सरला), authored by Acharya Shri Ajitsagarsuri.

The purpose of publishing these prefaces separately is to make the renowned work and its context accessible to a wider audience, even those who may not have direct access to the original published book.

Key Components and Prefaces:

The book's table of contents indicates the following sections:

• Nivedan (निवेदन) / Foreword: This is a statement from the publisher explaining the rationale behind publishing the prefaces separately. They mention that the three prefaces were written by:

  • Rao Bahadur Vadilal Mohanlal Shah, B.A., LL.B. (Justice of Mansa State) in English.
  • Muniraj Shri Himanshuvijayji (Anekaanti) in Gujarati.
  • Pandit raj Shri Hemendsagarji in Sanskrit. The secretary of Shri Buddhisagarsuri Jain Gyanmandir expresses the hope that these prefaces will inform readers about the celebrated work and its author.

• English Preface (Page 8-14): This preface is written by Yashvantsing, General Adviser, Mansa State.

  • He acknowledges his limited knowledge of Jain theology but expresses his appreciation for the work based on explanations from Muni Shree Hemendrasagarji.
  • He introduces "Jina Stuti Chatur Vimsatika" as a 96-sloka poem, the sole work of the great poet Sobhan, brother of Dhanpal and friend of Raja Bhoj. He highlights its artistic skill, versatility, and talent.
  • He praises Acharya Ajitsagarsuri's "Sarala" commentary and Gujarati translation for lucidly capturing the original spirit.
  • Muni Shree Hemendrasagarji's role in tracing Sobhan's history and shedding light on contemporary Jain thought is also mentioned, emphasizing the poem's historical value.
  • He commends Gujarati preface by Nyayakavyatirtha Himansuvijayji.
  • He expresses personal pleasure in finding a 36-stanza Sanskrit eulogy of his state, Mansa, written by Muni Shree Hemendrasagarji, which is associated with this poem.
  • He concludes by stating that the poem reveals the progress of Jain culture and is of significant importance for scholars of Eastern languages and literature.

• Gujarati Preface (Page 14-39): This extensive preface is written by Muniraj Shri Himanshuvijayji (Anekaanti).

  • It begins by extolling the virtues of a true poet as a unique gift of nature, capable of bringing joy and beauty to the world.
  • It argues that true poets are timeless and universal, leaving behind works that benefit humanity.
  • It highlights the significant contributions of Jain monks and householders to literature in Sanskrit, Prakrit, and Kannada.
  • It focuses on Shri Shobhan Muni as a great natural poet, whose available work, "Jina Stuti Chatur Vimsatika," is sufficient to establish his reputation. The preface suggests that the absence of other works doesn't diminish a poet's talent.
  • It delves into Shobhan Muni's life, noting that information is scarce but reliable sources include his brother Dhanpal's works ("Tilakmanjari"), "Prabhavak-Charitra," and "Prabandha Chintamani."
  • Shobhan Muni's background: Born into a learned Brahmin family in Ujjain (Malva). His grandfather was Devrishi, residing in Sankashya. His father was Sarvadeva, a scholar and favorite of King Bhoj.
  • The story of his initiation: His father Sarvadeva sought hidden wealth. He approached Jain Muni Mahendrasuri, who guided him to the treasure. To repay the debt, the Muni asked for one of Sarvadeva's sons. Shobhan, the younger son, volunteered, leading to a conflict with his elder brother Dhanpal. This led to Dhanpal influencing King Bhoj to ban Jain monks from Malva. Shobhan, after his initiation, eventually persuaded his brother and the king to lift the ban.
  • The "Jina Stuti Chatur Vimsatika": The preface details the poem's structure, with each of the 24 Tirthankara stutis containing four parts: a hymn to the specific Tirthankara, to all 24 Tirthankaras, to the scriptures, and to the presiding goddess. It highlights the use of eighteen different verse forms, rhetorical figures, meters, and alliteration.
  • It discusses the difficulty in piecing together Shobhan's life and the various differing accounts from different texts regarding his birthplace, parents, and guru. The author favors sources like "Tilakmanjari" and "Prabhavak-Charitra."
  • It provides a detailed account of Shobhan's conversion to Jainism, his father Sarvadeva's interaction with Muni Mahendrasuri, and Shobhan's own intellectual prowess and eloquence in resolving disputes and influencing people, including his conversion of his brother Dhanpal.
  • The preface touches upon Shobhan Muni's untimely death, possibly due to an eye affliction, at a young age, lamenting the potential loss of further literary contributions.
  • It also lists various commentaries on Shobhan's work and the significant influence his "Jina Stuti" had on later poets.

• Sanskrit Preface (Page 46-58): This is a shorter preface, possibly a more academic or traditional introduction. It reiterates the importance of Shobhan Muni's "Jina Stuti Chatur Vimsatika," its elaborate structure, and its beautiful use of poetic devices. It also mentions the commentary by Acharya Ajitsagarsuri.

• Acharya Shri Ajitsagarsuri's Life Outline (Page 41-45): This section provides a biographical sketch of Acharya Shri Ajitsagarsuri.

  • Born as Ambalal in Nar village, Gujarat, in VS 1942 (1885 CE).
  • His parents were pious and compassionate.
  • He completed his Gujarati education and, after his parents' death, renounced the world, taking Diksha from Sthanakvasi monks as Ami Rushi.
  • He traveled widely, studied various religious texts and languages, and engaged in intellectual discussions.
  • He developed doubts about the Sthanakvasi doctrine regarding image worship, finding it to be a later innovation. After extensive correspondence and discussion with Acharya Shri Buddhisagarsuri, he became convinced that the Sthanakvasi doctrine was modern and detrimental to spiritual welfare.
  • In VS 1965 (1908 CE), he renounced the Sthanakvasi path and took Diksha in the Shvetambara tradition from Acharya Shri Buddhisagarsuri, adopting the name Ajitasagar.
  • He was known for his tolerance and non-discriminatory approach towards other sects.
  • He mastered Prakrit and Sanskrit, studied Agamas with their commentaries, and engaged in severe austerities, including "Gaddhavahan" (donkey carrying) penance.
  • He was awarded the titles of Pandit, Punyas, and Gani.
  • He authored numerous works in Sanskrit and Gujarati, including commentaries on Mahakavyas, philosophical texts, and linguistic works.
  • In VS 1980 (1923 CE), Acharya Shri Buddhisagarsuri appointed him as Acharya, entrusting him with the leadership of the Sagar branch of the tradition.
  • He was a prolific writer, orator, and a great devotee of his Guru. He also contributed to social upliftment and supported religious institutions.
  • He passed away in VS 1985 (1928 CE) in Vintpur.

• Shri Sadguru Smaranam (Page 45): Three verses in Sragdharavritta meter praising the Guru, highlighting his virtues like compassion, scholarship, detachment, wisdom, and spiritual attainment.

• Parishishtam (Perishishtam) - Appendices:

  • Appendix 1 (Page 65-75): "Tilakmanjari Peethika" (तिलकमञ्जरीपीठिका) by Kavi Dhanpal. This is an introductory section from Dhanpal's commentary on his own work, "Tilakmanjari." It discusses the literary merits of poetry, the contributions of various poets, and the context of his own family and their patronage by King Bhoj. It also includes praises for Acharya Shri Buddhisagar.
  • Appendix 2 (Page 76-81): "Jina Stuti Vishesht Padhyani" (जिनस्तुतेर्विशिष्टपद्यानि) - Selected verses from Shobhan Muni's "Jina Stuti Chatur Vimsatika." This appendix showcases the poet's mastery of various meters, alliterations, and poetic figures, highlighting specific stanzas for their exceptional artistry.
  • Appendix 3 (Page 82-86): "Mahendra Suri Charitra Gato Upayukta Padyani" (महेन्द्रसूरिचरित्रगतोपयुक्तपद्यानि) - Relevant verses from the life story of Mahendrasuri, Shobhan Muni's guru, detailing his interactions with Sarvadeva, Shobhan's father, and the events leading to Shobhan's initiation.
  • Arghyam (Page 87-88): An offering or homage section, likely verses praising Shobhan Muni and the contributors.
  • Mahans (Mansa) Varnanam (Page 89-100): A descriptive account of the town of Mansa, its geography, cultural importance, prominent citizens, religious sites (Jain temples, Vaishnava temples, Shiva temple), and the royal family. It also mentions the spiritual presence of Muni Ravishagar and the virtuous rule of Raja Sanjansinh and Prince Yashvant Sinh.
  • Shri Arbudagiri Raj Darshanam (Page 101-102): A poetic description of Mount Abu (Arbudagiri), its natural beauty, its significance as a pilgrimage site, and its spiritual aura.

Overall Significance:

"Prastavana Trayi" is a scholarly compilation that serves to introduce and contextualize "Jina Stuti Chatur Vimsatika." It provides valuable biographical information on the poet Shobhanmuni and the commentator Acharya Ajitsagarsuri, along with insights into the historical and literary landscape of Jainism during their times. The inclusion of appendices with selected verses and biographical snippets further enriches the reader's understanding of the primary work and its esteemed creators. The book demonstrates a deep respect for Jain tradition, poetry, and scholarship.