Stotratmaka Tatha Updeshatmaka Chotris Laghu Krutiono Samucchaya - Book Summary

Here is a comprehensive summary of the Jain text "Stotratmaka tatha Updeshatmaka Chotris Laghu Krutiono Samucchaya" by Shilchandrasuri, based on the provided Gujarati text.

This collection, titled "Stotratmaka tatha Updeshatmaka Chotris Laghu Krutiono Samucchaya" (A Collection of Thirty-Four Stotra-like and Didactic Minor Works), is a compilation of 34 minor works. These works were composed by the Jain Acharya Shri Ratnasinhsuri, who was active in the 13th century Vikram era. The text itself is a copy of an original palm-leaf manuscript.

Origins and Discovery:

The palm-leaf manuscript is housed in the Gyanbhandar of the Shri Mohanlalji Jain Upashray in Surat.
In 1959 AD (Vikram Samvat 2016), the renowned Jain scholar Shri Agarchand Nahata meticulously copied this manuscript by hand. This copy is the basis for the published work.
Shri Nahata's dedication is highlighted by the fact that he completed the transcription in just four days during his stay in Surat, showcasing his scholarly passion and curiosity.
The notebook containing Nahataji's copy was preserved by Munishri Mrigendravijayji. He generously shared it for publication, allowing this valuable medieval Jain literature to be brought to light. The editor expresses deep gratitude to Munishri Mrigendravijayji and requests him to share any other similar materials from his collection.
The opportunity to publish works from an Acharya contemporary to the great Hemchandracharya is considered a rare and exciting occasion.

Content and Structure:

The collection comprises a diverse range of compositions, including:

Jina Stotras (Praise of Jinas): Hymns dedicated to various Tirthankaras.
Guru Stutis (Praise of Gurus): Devotional verses in praise of spiritual preceptors.
Upadeshatmak Kruti (Didactic Works): Teachings and advice for spiritual progress.
Vairagya Vahak Rachanāo (Works Inspiring Renunciation): Compositions that inspire detachment from worldly affairs.

The works are presented in various poetic forms such as:

Kulak
Chulika
Vijnaptika (Plea or Supplication)
Shattrinshika (Thirty-six verses)
Geet (Song)
Chhappay (A specific poetic meter)
Stotra (Hymn)
Stavan (Praise)

Language and Poetic Style:

Languages Used: The compositions are written in Sanskrit, Prakrit (including Marathi influence), and Apabhramsha.
- Five works are in Sanskrit (Nos. 1, 2, 13, 23, 32).
- Seven works are in Apabhramsha (Nos. 10, 11, 27, 28, 30, 31, 33).
- The remaining 22 works are in Prakrit.
Meter: A variety of meters are employed, with Arya (Gatha), Anushtup, and Shardulvikridit being the most common. One work is in Chhappay. Apabhramsha compositions follow their corresponding meters.
Literary Skill: The author, Ratnasinhsuri, demonstrates profound literary knowledge, a rich command of language and vocabulary, and a poignant style of presentation. He is particularly adept at conveying the message of renunciation, often expressing his own shortcomings and self-criticism with simplicity, sincerity, and impact.

Key Highlights and Themes from Individual Works (as discussed in the introduction):

Work 1 (Atmatattva Chintā Bhāvanā Chūlikā): The author humbly states he is not a great poet but urges listeners to pay attention. He contrasts the worldly pleasures of poetry with the ultimate futility of worldly pursuits in achieving liberation.
Work 2 (Ātmānushāsti): Emphasizes that true spiritual texts are those that evoke renunciation and detachment, not mere linguistic or philosophical learning. It reflects the author's deep sense of renunciation and contemplation. It also mentions the work "Ātmānushāsan" by Acharya Jineshwarsuri, indicating inspiration from earlier masters.
Work 3 (Shri Rishabhdev Vijnaptika): A deeply moving plea to Lord Rishabhdev, expressing the author's pitiable state and requesting liberation from the cycle of birth and death. It's a highly emotional piece in 30 Prakrit verses.
Work 4 (Appānusāsanam - Ātmānushāsan): This work details how an Acharya, fearing worldly existence, imparts instruction to his own soul. It praises Saraswati Devi for her sweet voice. The author criticizes those who merely speak about renunciation and detachment without practicing it, and those who fail to internalize the teachings of impermanence. He also points out the flaws in contemporary monastic life, such as attachment to worldly comforts, greed, and possessiveness. He confesses his own struggle to live by his words, finding it difficult to follow the spiritual path despite his pronouncements. He expresses his greatest sorrow in not being able to translate his words into actions.
Work 5 (Hitashikshā Kulak): A mixed language (Prakrit and Apabhramsha) work offering advice to the soul.
Work 6 (Samvega Chūlikā): This work aims to inspire renunciation by contrasting the external beauty of the female form with its internal reality.
Works 7-13 (Nemīnāth and Pārshvanāth Stotras): These are supplications and hymns to Nemīnāth and Pārshvanāth. Work 9 exhibits a 'Shrinkhala Ayamaka' (chain-like poetic device). Work 11 mentions the Nemīnāth temple in Anhilwad (Patan), suggesting the hymn was composed in its context. Work 12 describes various worship practices prevalent at that time, including the use of jewels and ornaments for the deity's adornment.
Work 14 (Shri Dharmasuri Gunastavan Shattrinshika): A 36-verse ode to his guru, Shri Dharmasuri. It appears to be a composition written shortly after the guru's demise, expressing profound love and reverence. It highlights the guru's ability to manage the monastic community, his victory over opponents, his sharp intellect (recalling 500 verses in an hour), his consecration of many Jina images, his mother's name (Lakshmi), and details of his life (initiation at 9, Sūri-ship after 9 years, 60 years as Sūri, 78 years of life, passing away on a Monday in Vikram Samvat 1237).
Works 15-16 (Ātmahit Chintā Kulak and Mano Nigrah Bhāvanā): These works focus on self-interest and mind control. The author acknowledges the mind's fickleness and describes it as an illusionist that can slip away despite efforts to control it. He openly discusses his personal struggles with his mind.
Work 17 (Guru Bhakti Kulak): This work elaborates on the importance of guru devotion, sometimes with surprisingly strict advice. It states that even a more virtuous disciple must obey the guru, and that disciples should worship their gurus like gods, even if the guru is harsh, lazy, or flawed. It emphasizes the severe consequences of speaking ill of a guru. It also clarifies the meaning of the monastic directive "Bahuvellam" (many times) for minor actions like spitting or breathing, and stresses the need to seek permission for all other tasks. It highlights that worshipping the guru is like nectar, while disrespecting him is poison.
Work 18 (Paryantāradhanā Kulak): Guides those aspiring for an ideal death (Panditmaraṇ).
Work 19 (Upadesha Kulak): Focuses on the impermanence of the world, inspiring renunciation. The author's primary sentiment across these works is the propagation of detachment.
Works 20-21 (Nemīnāth and Shri Pundrikaswami Stotras): Praises of Nemīnāth and the Ganadhar Pundrikaswami.
Work 22 (Shri Anhilpur Rathayātrā Stavan): Describes the religious fervor of a chariot procession. It hints at the procession being initiated by King Kumarpal, placing its composition before Vikram Samvat 1229.
Works 23-24 (Bhārati Stotra and Shri Bharuch-mandan Munisuvrat Stotra): Work 23, a Sanskrit composition in Shardulvikridit meter, is a hymn to Bharati Devi, though it contains some inaccuracies. Work 24 is a hymn in Prakrit to Lord Munisuvrat.
Work 25 (Bāttar Jin Kumarvihar Stavan): This is a historically significant work as it sheds light on the "Kumārvihār" temple built by King Kumarpal in Patan. It mentions that the temple contained 72 Jina images, with three images per shrine, representing the Jinas of the past, present, and future (24 each). It also lists the names of these 72 Tirthankaras. The text notes that there is no mention of a golden idol, which might have been recorded if present.
Work 26 (Shri Pārshva-jin Stavan): A hymn to Lord Pārshvanāth, suggesting the author's special reverence for Nemīnāth and Pārshvanāth.
Work 27 (Shri Dharmasūri Deshanā-gunastuti): This Apabhramsha work praises the virtues of his guru Shri Dharmasuri's discourses (deshana). It mentions that Dharmasuri's guru was Shri Shilsuri. The compositions highlight Dharmasuri's ability to inspire young men to take diksha and his role in establishing numerous Jina temples.
Works 28-32 (Shri Shankheshwar Pārshvanāth Stotras): Five hymns to Shankheshwar Pārshvanāth. Three are in Apabhramsha, one in Sanskrit, and one in Prakrit. Work 29's reference to "Rannammi Saggasarisam" suggests the contemporary condition of Shankheshwar.
Work 33 (Shri Dharmasuri Chhappay): A guru-stuti in the Chhappay meter, showcasing the effective use of this ancient meter in Apabhramsha. It identifies Shri Dharmasuri as belonging to the Chandra Gachchha.
Work 34 (Shāsan Devi Stotra): The final work is a hymn to the Shasan Devi (guardian deity), praying for the peace of his disciples and guru.

Author Identification:

The author is confirmed to be Shri Ratnasinhsuri based on the recurring name at the end of most compositions.
His lineage is traced to the Chandra Gachchha, as indicated in the "Dharmasuri Chhappay" work.
Historical mentions of Vikram Samvat dates (1237, 1239) and descriptions related to Kumarpal's reign place him firmly in the first half of the 13th century.
In five of the works (Nos. 16, 21, 22, 25, 33), the name "Paumanaah" (Padmanabha) is found. Since works 22 and 25 are also included here, it's deduced that "Padmanabha" was likely his original name before becoming a Sūri, possibly receiving the title "Ratnasinhsuri" upon his Sūri-ship. The mention of "Paumanaah-ganina" in work 25 suggests he may have held the designation of Gani before becoming Sūri, likely between 1230 and 1237 AD.
It is noted that Work 27 does not contain the author's name.
The index provided was prepared by Shri Agarchand Nahata.

In conclusion, this collection offers valuable insights into the religious, literary, and historical landscape of Jainism in 13th-century India, showcasing the spiritual depth and literary prowess of Acharya Ratnasinhsuri.