Rajasthani Jain Sahitya Ki Rup Parampara

Here's a comprehensive summary of the provided Jain text, "Rajasthani Jain Sahitya ki Rup Parampara" by Manmohanswawrup Mathur, focusing on its content and structure:

The book "Rajasthani Jain Sahitya ki Rup Parampara" (The Tradition of Forms in Rajasthani Jain Literature) by Dr. Manmohanswawrup Mathur, published as part of the Z_Kesarimalji_Surana_Abhinandan_Granth, explores the rich and diverse literary heritage of Jainism in Rajasthan. The author highlights Rajasthan's unique cultural synthesis, where martial valor (represented by the clang of swords) and spiritual knowledge (preserved in its vast libraries and spoken by scholars) coexist.

Key Themes and Arguments:

• Early Spread and Influence of Jainism: The text traces the spread of Jainism in Rajasthan from approximately a century after Mahavir Swami's Nirvana, reaching wide acceptance by the 5th-6th centuries. It identifies Madhyamika Nagari as the oldest Jain city and lists various Jain temples across Rajasthan as proof of its antiquity. The significant contributions of Jains to Rajasthan's literary, political, religious, trade, and social spheres are emphasized.

• Origins of Rajasthani Jain Literature: The literary tradition is believed to have begun in the 5th-6th centuries with Jain monks writing in Prakrit. Rajasthan is credited with producing the first Jain literary figures, with Acharya Siddhsena Diwakar being cited as the earliest. Factors like royal patronage, religious fervor, and inspiring sculptures of Tirthankaras motivated these monks. The pursuit of the "Upadhyay" (teacher) title also spurred literary creation, leading to the development of a distinct "Jain Shaili" (Jain style).

• The Golden Age (17th Century): The 17th century is described as the golden age of Rajasthani Jain literature. By this time, the linguistic differences between Gujarat and Rajasthan had become more pronounced, but the constant interaction of Jain monks between these regions mitigated this effect. The literary forms and themes had also fully matured.

• Categorization of Literary Forms: The author, citing Agarchand Nahata, lists 117 distinct literary forms (shirshak) that emerged in Rajasthani Jain literature. These are then broadly categorized for clarity:

  1. Poetry (Padya):

     • Prabandh Kavya (Narrative Poetry): This includes:
       • Katha Charit Kavya: Works like Ras, Aakhyan, Charitra, Katha, Vilas, Chaupai, Sandhi, Sambandh, Prakash, Rupak, Gatha, etc., often focusing on stories and biographies.
       • Ritukavya (Seasonal Poetry): Fasgu, Dhamal, Barahmasa, Choumasa, Viraha, Holi, Chowk, Churchari, Jhulna, etc., depicting seasonal themes and emotions.
       • Utsav Kavya (Festival Poetry): Works related to weddings, auspicious occasions, festivals like Garba, Phulda, Halario, Dhaval, Janmabhishek, Badhava, etc.
     • Muktaka Kavya (Shorter, Independent Poetry):
       • Dharmik (Religious): Titles like Tirthmala, Sangh Varnan, Puja, Vinti, Chaitya Paripati, Dhal, Matrika, Namaskar, Prabhati, Stuti, Stotra, Nirvana, Chhand, Giti, etc., praising Tirthankaras, saints, and holy places.
       • Nitiparak (Didactic/Ethical): Kakkas, Battisii, Bavani, Shatak, Kulak, Salokas, Pavada, Boli, Goodha, etc., conveying moral and ethical teachings.
       • Vividh Muktak Rachnayen (Miscellaneous Short Compositions): Geets, Ghazals, Lavani, Hamchadi, Heecha, Chhand, Pravahan, Bhas, Nisaani, Bahottari, Chhattisi, Ikkiiso, etc., covering a range of themes including historical and celebratory elements.

  2. Prose (Gadya):

     • Tikka, Tabba, Balavbodh: Commentaries and explanations of original works, often written in the margins (Tabba) or as detailed explanations (Balavbodh), using illustrative examples.
     • Guravali, Pattavali: Historical accounts of lineage and succession of Jain monastic orders and gurus.
     • Vijnapti Patra, Vihar Patra, Niyam Patra, Samachari: Official letters and bulletins informing about monastic movements, rules, Chaturmas, and public notices.
     • Seekh: Didactic prose works imparting religious instruction.

• Detailed Descriptions of Key Forms: The book provides in-depth explanations and examples for several significant literary forms:

  • Rasau Kavya: Discusses the etymology of "Rasau" (from Rasayan, Rajasuya, or indigenous) and its character as often beginning with romance and culminating in peace (Shant Ras), a hallmark of Jain Rasau. It lists numerous examples like Vikramkumar Ras, Shrenik Raja no Ras, Vastupal-Tejpal Ras, etc.
  • Chaupai (Chaupai, Papai): Explains it as a metrical form and notes its frequent use, often interchangeably with Rasau by the 17th century. Examples like Panchdand Chaupai, Purandar Chaupai, Chandanbala Charit Chaupai are provided.
  • Sandhi-Kavya: Explains the term's use in Apabhramsha epic literature and its application to Rajasthani compositions from the 14th century. Examples like Anand Sandhi, Kesh Gautam Sandhi are mentioned.
  • Prabandh, Charit, Sambandh, Aakhyan, Katha, Prakash, Vilas, Gatha: Acknowledges these terms as largely synonymous, used to describe works based on specific subjects.
  • Pavado and Pavado: Discusses the debated origin of "Pavado" (possibly from Sanskrit "Pravad") and its use for heroic or narrative poetry. It notes its frequent use in Charan literature for heroic tales and in Jain literature for glorifying religious figures, citing Vidya Vilas Pavada as an early example.
  • Dhal: Describes it as a tune or meter for singing, often used in Ras, Chaupai, and devotional songs. It's noted that this form contributed to the development of Prabandh poetry.
  • Phagu Kavya: Highlights this as a unique Jain literary form depicting the spring season (Phalgun-Chaitra). It often portrays the "marriage" of Jain ascetics with "Sanyam Shri" (moderation/discipline), their romantic sentiments, separation, and union, emphasizing that it's not about worldly marriage. Examples like Jinchandra Suri Phagu, Sthulbhadra Phag are cited.
  • Dhamal: Seen as an evolution from Phagu, with similar themes and a tradition of singing on Holi. Examples like Ashadhbhuti Dhamal, Ardra Kumar Dhamal are given.
  • Churchari (Chanchari): Similar to Dhamal, rooted in folk traditions, sung with percussion, and considered a type of musical composition danced to. Examples from Jain literature dating back to the 14th century are mentioned, including those by Jinsdatt Suri and Jinavallabh Suri.
  • Barahmasa, Chhamasa, Choumasa: Poetry describing the twelve months, six months, or four months of the year, often focusing on the Viraha (separation) of the heroine, with nature playing a significant role. These forms are borrowed from folk literature.
  • Vivahalo, Vivah, Dhaval, Mangal: Works describing weddings and songs sung on such occasions. Examples like Jinehswar Suri's Samyamdhi Vivah Varnan Ras are cited as early examples.
  • Veli: Compared to Hindi forms like Lata andvati, it also typically depicts wedding occasions.
  • Miscellaneous Muktak Compositions: Includes religious, ethical, and other secular themes. Religious compositions praise Tirthankaras, saints, and holy places. Ethical works convey morals and teachings.
  • Grammatical, Poetic, Ayurvedic, Mathematical, and Astrological Works: The text acknowledges that Jain monks also produced significant scholarly works and commentaries in these fields, contributing to the development of the Rajasthani language.

• Contribution to Hindi Literature: The book specifically notes that Rajasthani Jain prose made a significant contribution to the development of Hindi literature.

Conclusion:

The author concludes by stating that Rajasthani Jain literature, while primarily spiritual in nature with the dominant sentiment being peace (Shant Ras), also features elements of romance (Shringar Ras) and heroism (Veer Ras) in specific narratives like those concerning Vikram and Gora-Badal. Nearly all works begin with auspicious invocations and conclude with the protagonist's renunciation or successful household life. The literature, despite potential limitations in sheer artistic flair, is highly valuable from the perspective of linguistic study and the evolution of literary forms. The compilation of this vast body of literature remains an ongoing and incomplete task.