Stotra Sarita

Here's a comprehensive summary of the provided Jain text "Stotra Sarita" by Dr. Mitaben J. Vyas, focusing on the works of Acharya Hemchandrasuri:

Overview of Stotra Sarita and Jain Stotras

The book "Stotra Sarita" by Dr. Mitaben J. Vyas explores the rich tradition of "Urmikavya" (lyrical poetry) in Indian literature, characterized by its brevity, emotional depth, musicality, and spontaneous expression of human emotions in a style of self-surrender. The text highlights that stotras (hymns of praise and prayer) are a prominent part of this tradition, with examples found even in Vedic literature like the Rudradhyaya. The Sanskrit root "stu" signifies praise and prayer, from which words like "stotra," "stuti," and "stavana" are derived.

Stotra poetry is broadly categorized into several types: Shaiva, Shaakta, Vaishnava, hymns to other deities, Jain stotras, and Buddhist stotras. The core purpose of stotras is to praise the divine, allowing the poet to express their heartfelt sorrows and aspirations with devotion. Prayer is universal, but Indian culture emphasizes how, through expressing humility and tenderness, the devotee gains insight into the divine's magnanimous heart. Stotra poetry is considered a supreme means of worship in Indian culture due to its melodiousness, grace, emotional resonance, and musicality, offering teachings akin to those of a beloved spouse. It possesses the power to deeply affect even those with hardened hearts.

Acharya Hemchandrasuri's Contribution to Stotra Literature

Acharya Hemchandrasuri's contributions to Gujarati literature are invaluable and unforgettable. Beyond his renowned works in grammar, rhetoric, prosody, lexicography, and epic poetry, he also made significant contributions to stotra literature, composing a total of six works in this genre. The article then provides a brief overview of each of these stotras:

1. SakalArhat Stotra (Brihachchaitravandana Stotra):

   • Named after its opening phrase, "SakalArhat."
   • Also known as Brihachchaitravandana.
   • Consists of 33 verses, often included at the beginning of his work "Trishashti Shalaka Purusha Charitra."
   • It is a propitious stotra recited at the commencement of Jain pratikraman (repentance rituals).
   • The initial two gathas (verses) offer salutations to the state of Arhatship, as Arhats are defined by their Arhat-state.
   • Subsequent verses sequentially describe the 24 Tirthankaras, detailing their unique qualities, miracles, and exceptional characteristics. Each verse praises a Tirthankara from a different perspective.
   • Three commentaries exist for this stotra, and it has been widely translated and discussed in Gujarati prose and poetry.

2. Vitaraga Stotra (Vimshati Prakash):

   • A sublime devotional stotra in Sanskrit literature, showcasing the author's intense devotion.
   • Known as "Vimshati Prakash" because it is divided into twenty sections.
   • Comprises 20 sections, with each section containing approximately 8 verses, totaling 186 verses.
   • It covers a wide range of themes, including:
     • Introduction
     • Description of inherent miracles
     • Miracles arising from the destruction of karma
     • Description of virtuous miracles
     • Description of Pratiharyas (miraculous events)
     • Refutation of opposition
     • Refutation of creationism
     • Refutation of exclusivity
     • Pacification of the Kali Yuga
     • Wondrous praise
     • Praise of unfathomable glory
     • Praise of detachment
     • Praise of non-contradiction
     • Praise of yogic accomplishments
     • Praise of devotion
     • Self-deprecation
     • Seeking refuge
     • Stern admonitions
     • Commandment
     • Benediction
   • The stotra focuses on the various virtues of the Tirthankaras, emphasizing the denunciation of wrongdoing, the approval of good deeds, and the cultivation of a spirit of surrender. The declaration "Commandment is supreme" resonates throughout.
   • It is mentioned that by reciting this stotra, the Chalukya king Kumarpal fulfilled his desires. Acharya Hemchandrasuri composed this stotra specifically for Kumarpal.
   • The "Moharaj-Parajaya" drama also references this stotra by the name "Twenty divine pills."
   • The Vitaraga Stotra holds a special place in the vast category of stotra poetry, being exceptionally melodious due to its devotion. From a poetic standpoint, it is also superior. It not only expresses devotion but also elaborates on the excellence of Jain philosophy. While overcoming sensual attachment and worldly affection is relatively easy, the text notes that eradicating the "sinful attachment of the gaze" is difficult even for scholars and ascetics. The stotra also promotes religious tolerance and respect for other faiths. The inherent joy and sweetness of the stotra naturally captivate the heart, thus securing its unique literary position.

3. Mahadeva Stotra (Mahadeva Battisi / Mahadeva Dvatrimshika):

   • Also known as Mahadeva Battisi or Mahadeva Dvatrimshika.
   • Originally consisted of 32 verses with a 33rd verse as a concluding arya meter.
   • The currently available version has 44 verses, suggesting interpolation over time.
   • The stotra describes the characteristics of Mahadeva and then poses the question of who else could be such a divine being, possessing these qualities.
   • Using epithets like "fear-dispelling," "peaceful," "free from attachment and aversion," "self-controlled," "non-possessive," "free from greed and pride," "conqueror of passion," "greatly knowledgeable," and "great yogi," Acharya Hemchandrasuri illustrates the Vitaraga (passionless) divine form according to Jainism.
   • The underlying message is that no other deity can embody these qualities.
   • The verse, " Bhavabijankurarjanana ragadyah kshayamupagata yasyā | Brahmā vā Vishṇu vā Haro Jino vā namastasmai || " (He whose passions like attachment, which sow the seeds of worldly existence, have been destroyed – be it Brahma, Vishnu, Shiva, or Jina – to him, salutations!) is cited. This verse conveys that only a being whose afflictions causing worldly rebirth are eradicated is worthy of salutation, regardless of whether they are Brahma, Vishnu, Shiva, or Jina. Through this unique praise, the Acharya, in accordance with his own doctrine, reveals the true essence of Shiva as the Vitaraga form.
   • While the Jain tradition acknowledges the Vedic trinity (Brahma, Vishnu, Shiva), it reinterprets their roles. The Jain perspective, which doesn't subscribe to the concepts of creation, preservation, and destruction of the universe by these deities, views them as aspects or manifestations of the enlightened beings (Arhats or Jinanatha). The text quotes: "Ekamūrtistrayo bhāgā Brahmaviṣṇumaheśvarāḥ | Ta eva ca punaruktā jñānachāritradarśanāt || Jñānaṁ viṣṇuḥ sadā proktaṁ brahmā chāritramuchyate | Samyatvaṁ tu śivaḥ prokta mahannṛttistrayātmikā ||" (Brahma, Vishnu, and Mahesh are three parts of one form. They are again spoken of in terms of knowledge, conduct, and faith. Knowledge is always called Vishnu, conduct is called Brahma. Righteousness is called Shiva; the great being is of these three aspects.)

4. Shri Arhannahmasahastra-Samuchchaya (Siddhasahasranama Stotra):

   • One category of stotra is the namavali (list of names) stotra. This work by Acharya Hemchandrasuri falls into this category.
   • The stotra doesn't contain extensive descriptions but focuses on the repeated utterance of the Supreme Being's names.
   • The foundation of the Arhannahmasahastra Stotra is known as the "Siddhasahasranama Stotra" or "Jinasahasranama Stotra."
   • It is divided into ten shatakas (centuries), each containing one hundred names, totaling 1008 names of Lord Jina.
   • This is a powerful stotra, with the concluding phalashruti (statement of benefits) indicating that hearing, contemplating, reading, or chanting these names is highly rewarding.

5. Anyayogavyavachchheda Dvatrimshika:

   • This "battisi" (set of 32 verses) features a vivid praise of Lord Mahavir by the Acharya's skillful pen.
   • The initial three verses describe four of Lord Mahavir's atishayas (extraordinary qualities): knowledge, absence of harm, miraculous speech, and reverence. Following this, it directly attacks and critiques other philosophical schools.
   • Verses 4-9 discuss the Vaisheshika philosophy, verse 10 the Nyaya philosophy, verses 11-12 the Purva Mimamsa philosophy, verses 13-14 the Vedanta philosophy, verse 15 the Sankhya philosophy, verses 16-19 the Buddhist philosophy, and verse 20 the Charvaka philosophy, all with adept discussion and refutation.
   • Verses 21-30 establish the supremacy of Jain philosophy. Concluding, the Acharya states that while other philosophical systems are filled with envy due to their focus on supporting or refuting specific theories, the doctrine of Arhat Muni is not so. This is because the naya-vada (doctrine of standpoints), pramana-vada (doctrine of valid cognition), sapta-naya (seven standpoints), anekanta-vada (doctrine of manifold aspects), sapta-bhangi (seven-fold syllogism), sakala-desha (universal assertion), and vikala-desha (partial assertion) expounded here represent reality. This perspective allows for a pure, philosophical, and fundamental understanding. Verses 31-32 conclude with praise for Lord Mahavir.
   • Dr. Anandshankar Dhruv is quoted as saying that this stotra beautifully harmonizes contemplation and devotion, making it excellent from both philosophical and artistic perspectives.

6. Ayogavyavachchheda Dvatrimshika:

   • The nature of this "dvātrinshikā" stotra is similar to the previous one, but their presentation differs. The earlier stotra critiques other philosophies, while this one focuses on establishing its own doctrine.
   • It begins with praise for Lord Mahavir and then describes the essence of Jainism in simple and elegant words.
   • The text highlights that the cause of entering the world is asrava (influx of karma), and the cause of liberation is samvara (cessation of karma). As this core principle of Jain philosophy is acknowledged, no contradiction arises.
   • "Dvatrimshika" refers to a collection of thirty-two verses. In both these "battisi" works, the Acharya's language and style are imbued with high poetic quality. Alongside its philosophical depth, a fervent tone of a devotional heart is expressed. The critical examination of other philosophical systems is beautifully integrated with devotion. These hymns are as philosophical as they are literary.

Conclusion:

The article concludes by stating that by immersing oneself in this "Stotra Sarita," Acharya Hemchandrasuri's poetic heart expresses sorrow, suffering, aspirations, and devotion. While prayer is an integral part of every religion, here we see the stotra composer revealing his magnanimous heart through humility and tenderness, devoid of religious narrow-mindedness. Inner effervescence, self-surrender, and mental peace are evident. Whether praising the Vitaraga or Mahadeva, a harmonious perspective is observed. The same devotion with which he salutes Mahavir is extended towards other deities. This demonstrates that just as Acharya Shri is a philosopher, rhetorician, and grammarian, he is also a poet with a tender and compassionate heart.