Raivatkadrimandan Nemijin Stotram

This document is a scholarly article discussing the Raivatkadrimandan Nemijin Stotram (Hymn to Lord Neminath on Mount Raivataka) authored by Ratnakar Suri. Here's a comprehensive summary in English:

Title: Raivatkadrimandan Nemijin Stotram Author: Ratnakar Suri (circa early 14th century CE) Publisher: ZZ_Anusandhan (Part of Anusandhan-56) Catalog Link: https://jainqq.org/explore/229357/1 Context: This article is part of the "JAIN EDUCATION INTERNATIONAL FOR PRIVATE AND PERSONAL USE ONLY" initiative.

Main Points of the Article:

• Identification of the Author: The article establishes Ratnakar Suri as the author of the Raivatkadrimandan Nemijin Stotram. He is known for other works like Ratnakara Panchavimsatika (Twenty-five Verses of Ratnakara) and has contributed to the commentary of the Uttaradhyayana Sutra. Ratnakar Suri was a disciple of Devaprabh Suri, who was the 10th successor in the lineage of Nann Suri of the Chandragachchha.

• Manuscript Details: The featured Raivatkadrimandan Nemijin Stotram is a 14-verse hymn. A manuscript of this work, measuring 27 x 11 cm, is housed in the Lalbhai Dalpatbhai Bharatiya Vidyamandir in Ahmedabad, cataloged under number 47950. It is estimated to have been written around the 15th century CE.

• Evidence of Single Authorship: The article strongly argues for the single authorship of Ratnakar Suri across three works:

  1. Ratnakara Panchavimsatika (Ratnakara Pachchisī)
  2. A preface/prologue to a palm-leaf manuscript of Uttaradhyayana Sutra with a commentary by Nemicandra Suri (Prakirnaka/Prakirna, referred to as P. Pra. in the article).
  3. The Raivatkadrimandan Nemijin Stotram (the subject of the article). This conclusion is based on the recurring use of the name "Ratnakara" and the consistent stylistic elements across the works, including:
  • Artful use of language (Shabdalankaras): Employing figures of speech like yamaka (rhyme and rhythm), rupaka (metaphor), parisankhya (enumeration with negation), vyatireka (contrast), and anupras (alliteration).
  • Emotional depth and flow (Bhava Madhurya, Satatya, Hridayangama Bhavormi): The verses exhibit sweetness of sentiment, continuity, use of pleasant and graceful words, and deeply affecting emotional waves.
  • Natural flow and sweetness: Despite the use of complex linguistic embellishments, the compositions maintain a natural and unforced beauty, enhancing the emotional appeal.

• Examples of Stylistic Similarities: The article provides specific examples from the other works to highlight the common threads:

  • From the preface of Uttaradhyayana Sutra: Phrases like "Mukta mani svarakanti deeprah" (glowing with the radiance of precious gems) and "Shashanka-kasha-sankasha-yashah-purita-bhutalah" (whose fame, resembling the moon and kasha grass, has filled the earth).
  • From the latter half of the preface: "Samajani janita-shesha-dosha-pramoshah" (a yamaka where all faults are eradicated) and "Suriyate asau" (it is rendered akin to).
  • From Ratnakara Panchavimsatika: "Shreyah-shriyam mangala-kelisam narendra-devendra-natahnipadma" (whose lotus feet are bowed by kings and gods, a festive play of auspiciousness for prosperity) and "Dara na kara naraka-sya chitte" (wives are not chains to the mind for hell).

• Analysis of the Raivatkadrimandan Nemijin Stotram:

  • The hymn is noted for its consistent compositional skill, similar to the other works.
  • Specific verses are analyzed for their literary merit:
    • Verse 1: Uses vṛttyanuprāsa (a type of alliteration).
    • Verse 2: Demonstrates vyatireka (contrast) and shlesha (pun/double entendre) leading to paradox.
    • Verse 3: Employs shlesha (pun) and rupaka (metaphor).
    • Verse 4: Contains yamaka and abhangashlesha (unbroken pun), which are skillfully used without compromising the emotional subtlety. It also features kriyagupta (hidden verb) and a play on the word "Nemi" to indicate both the Lord's name and the verb "nam" (to bow).
    • Verse 5: Uses vyatireka and describes the inability to behold the Lord's form due to worldly attachments, compared to someone with damaged eyesight unable to see the moon.
    • Verse 6: Uses vivatsa (disgust) and compares the defeat of inner enemies to the sun dispelling darkness.
    • Verse 7: Discusses the futility of worldly desires (like the Kalpavriksha or Kamadugha cow) when compared to obtaining the favor of Lord Nemi.
    • Verse 8: Uses mayanishi (illusionary night) and prabodh kalit (awakened by).
    • Verse 9: Mentions the Lord's lotus feet, worshipped by celestial beings, and the nectar-like quality of His presence, compared to the chakravaka bird drinking moonlight.
    • Verse 10: Praises the beauty of the Lord's eyes and their influence on the world.
    • Verse 11: Describes the Lord's form as purifying, like the celestial river Ganga washing away sins.
    • Verse 12: Mentions Lord Nemi, who, by abandoning the allure of celestial maidens and the beauty of the "Bhoja princess" (Rajimati), attained liberation and sanctified Mount Raivataka with His lotus feet.
    • Verse 13: Expresses that worldly riches are bitter and fleeting, and declares Lord Nemi as the only true Lord.
    • Verse 14: Concludes with a wish for Ratnakara's Guru (implied to be Nemi) to be auspicious.

• Notable Word Usage: The article highlights specific word choices that enhance the grandeur of the stotra, such as "Tridashavandita-padapadma" (lotus feet worshipped by celestials), "Nemi" for Lord Neminath, "Bhojaputri" for Rajimati, and "sarasiyate" (to become akin to) and "pepiyaman" (drinking) as verbal forms.

• Concluding Remarks: The Raivatkadrimandan Nemijin Stotram is characterized by its lyrical quality, making it suitable for singing. The presence of intellectually stimulating ornaments (buddhigamya alankara) seamlessly integrated into the poetry contributes to its profound appeal.

In essence, the article is an in-depth academic analysis of a Jain hymn, focusing on its author, manuscript, literary style, and theological content, firmly placing it within the broader body of Ratnakar Suri's known works.