Stutikar Matruchet Ane Temnu Adhyarddha Shataka - Book Summary

Here's a comprehensive summary of the provided Jain text, focusing on Stutikar Matruchet and his Adhyarddha Shataka:

The text discusses the poet Matruchet and his work "Adhyarddha Shataka," drawing parallels and contrasts with other prominent Indian poets like Ashvaghosha and Kalidasa, and highlighting the influence of Matruchet on later Indian literature, particularly within Jain traditions.

1. Introduction and Comparison with Ashvaghosha and Kalidasa:

The author begins by comparing Ashvaghosha and Kalidasa, both Brahmin poets. Kalidasa achieved immense fame throughout India, while Ashvaghosha's fame was limited, though significant in the Buddhist world outside India.
The reason for this difference is attributed to Ashvaghosha's conversion to Buddhism and his focus on Buddhist themes, whereas Kalidasa remained within the Brahminical cultural sphere. If Kalidasa had championed Buddhist culture, his fame in India might have been less, and if Ashvaghosha had promoted Brahminical culture, his Indian fame might have matched Kalidasa's.
This analysis is directly applied to Matruchet, an Indian poet who was also highly regarded by contemporary emperors. However, his name has become largely unknown in India, despite his works influencing both Brahminical and Jain traditions.

2. Discovery and Preservation of Matruchet's Works:

The rediscovery of Ashvaghosha and Matruchet's works in Europe is credited to European scholars like M.A. Stein, A. Chenval, and A. Von Le Cog, who found manuscripts in Khotan and Turfan. The subsequent publication of these findings by scholars like Prof. Winternitz brought Matruchet and his "Adhyarddha Shataka" to the forefront.
A pivotal moment in the preservation and availability of the original Sanskrit text of "Adhyarddha Shataka" was the effort of the Buddhist monk Rahul Sankrityayan. His expedition to Tibet in 1926 led to the discovery of a neglected Sanskrit manuscript in a Tibetan monastery. Without this discovery, our understanding would be limited to Tibetan and Chinese translations and fragmented Indian discoveries.

3. Matruchet's Identity and Context:

Little is known about Matruchet's birthplace, caste, parents, education, or teachers. Information available is primarily based on the work of Prof. Winternitz.
Matruchet is mentioned as having received an invitation from Emperor Kanishka (around whom Ashvaghosha also flourished) to his court. Matruchet responded with a letter, translated into Tibetan as the "Maharaja Kanikalekha," expressing his apologies for not being able to attend due to old age. This letter, a short poem of 85 verses, contains moral teachings according to Buddha's commands and concludes with a humble request to the emperor to grant refuge to wild animals and cease hunting.
During the 7th century, Chinese traveler I-Tsing noted Matruchet's fame as a poet whose Buddhist hymns were sung widely. I-Tsing also recounts a legend about a bulbul singing joyfully as Buddha passed, with Buddha prophesying that this bulbul would be reborn as Matruchet.

4. Matruchet's Major Works and Their Significance:

Matruchet's most famous works are two "Stutis" (hymns):
- Chaturdashataka: Containing 400 verses.
- Sarddhashataka (or Adhyarddhashataka): Containing 150 verses.
Fragmentary remains of these works have been found in Central Asia. These hymns are described as simple, unadorned, yet beautiful compositions that deeply impact religious followers through their pure sentiment.
I-Tsing considered it a joyous occasion to hear these hymns sung in assemblies of monks, comparing their sweetness to celestial flowers and their profound teachings to the lofty peaks of mountains.
Matruchet is considered the "father of literature" by many Indian hymn writers, and scholars like Asanga and Vasubandhu greatly admired him. Buddhist devotees and monks in India were taught Matruchet's hymns after learning basic precepts.
I-Tsing states that many commentators and imitators of these hymns existed, even including the renowned Buddhist logician Dignaga, who composed a verse before each verse of Matruchet's "Sarddhashataka" to create a collection known as "Mishrastotra."
I-Tsing translated the "Sarddhashataka" into Chinese, and both the "Sarddhashataka" and "Chaturdashataka" were translated into Tibetan. The Tibetan translation of "Chaturdashataka" is titled "Varnana Varnan" (description of descriptions), a title also found in the final praise of a Central Asian manuscript fragment.

5. The "Adhyarddha Shataka" (Sarddhashataka): Details and Content:

The text identifies the "Adhyarddha Shataka" as the main subject of discussion. Its original Sanskrit text was published in the Journal of the Bihar and Orissa Research Society (Vol. 23, Part 4, 1937), edited by K.P. Jayaswal and Rahul Sankrityayan.
The manuscript used for this edition was obtained by Rahul Sankrityayan from Tibet, originally belonging to a Nepali scholar named Sunayashimitra from the 11th century.
The "Adhyarddha Shataka" has been translated into Tibetan and Chinese, indicating its widespread fame and dissemination across different regions for centuries.
The term "Adhyarddha Shataka" means a hymn of one hundred and fifty verses. While it contains 153 verses, the "adhyarddha" (half) designation is considered technically correct, as the additional three verses are seen as a partial addition.
The "Adhyarddha Shataka" is divided into thirteen sections, each with a thematic title, likely original to the author: Upadhātattva, Hetutattva, Nīpastava, Adbhutastava, Rūpastava, Karṇastava, Vāchanastava, Śāsanastava, Praṇidhistava, Mārgāvatārastava, Duṣkastava, Kauśalatava, and Ānuṇyastava.
The last two verses are in Vamshastha meter, while the rest are in Anushtubh. The Sanskrit style is simple, clear, and unpretentious. Matruchet masterfully portrays the spiritual journey of Buddha from beginning to end in this relatively short hymn, evoking a sense of peace and detachment from worldly concerns.

6. Matruchet's Hymnological Uniqueness and Influence:

Matruchet's hymn stands out from earlier Vedic hymns (which praised nature and deities) and later hymns. While early Buddhist and Jain texts shifted to Prakrit and focused on historical figures like Buddha and Mahavira, their style often became more elaborate with ornaments and metaphors.
Matruchet's hymn, however, is free from the excesses of both Brahmin and Shraman poets. He praises Buddha in simple, elegant Sanskrit, without resorting to divine miracles or exaggerated claims. He respects other traditions without criticizing them.
The author suggests that Matruchet established the principle that devotion and praise can be offered without relying on divine intervention or supernatural miracles.

7. Matruchet's Influence and Imitations:

I-Tsing's observation about numerous commentators and imitators is deemed accurate based on the available literature.
The author speculates that Nagarjuna and Aryadeva's "Chaturdashataka" might have been inspired by Matruchet's "Chaturdashataka."
Jain scholar Haribhadra's "Visha Vīśī," a collection of 400 verses, is also considered a potential imitation, possibly indirectly influenced by Matruchet.
Dignaga's work, based on the "Adhyarddha Shataka," is confirmed.
Scholars like Asanga and Vasubandhu's admiration for Matruchet further suggests potential imitations by other Buddhist scholars.
Specific comparisons are made with Jain poets:
- Siddhasena Divakara: His thirty-two verses (Bātrīśī) might have been influenced by Matruchet's "Adhyarddha Shataka."
- Swami Samantabhadra: His "Svayambhustotra" (143 verses) is also compared in length and potentially in theme.
- Acharya Hemachandra: His "Vitaraaga Stotra" (187 verses) is extensively compared to "Adhyarddha Shataka." The author notes similarities in themes and sentiments, suggesting Hemachandra likely had access to Matruchet's work or similar hymns. Examples are provided where both poets describe Buddha/Vitaraaga's attributes like compassion, renunciation, detachment, and the profoundness of their teachings.
- Siddhasena Divakara's critique of Mahavira's body-dana (giving his own flesh) is contrasted with Hemachandra's similar critique of Buddhist Jataka tales.
- Matruchet's praise of Buddha's impartiality towards opponents is mirrored in Hemachandra's praise of Vitaraaga's impartial compassion.
- Matruchet's emphasis on the rarity of human birth and the opportunity it presents for spiritual pursuit is compared to Hemachandra's similar sentiment.
- The use of "Svayambhu" (self-born/self-existent) for Buddha by Matruchet is discussed. While this term originated in Brahmanical tradition, its adoption by Buddhist and Jain poets for their revered figures (like Buddha and Mahavira) indicates a cultural assimilation and influence. The author notes that the term became more prevalent in Jain literature after Matruchet's time, as seen in the works of Siddhasena Divakara and Samantabhadra.

8. Key Themes and Comparisons:

Rarity of Human Birth: Both Matruchet and Jain traditions highlight the extreme rarity of human birth, using analogies like a turtle's neck fitting into a yoke floating in a vast ocean. This emphasizes the preciousness of this life for spiritual endeavors.
The Concept of "Svayambhu": The use of "Svayambhu" by Matruchet for Buddha is analyzed in its historical context, tracing its Brahmanical origins and its eventual adoption by Buddhist and Jain traditions. This highlights a cross-pollination of religious terminology and concepts.
Nature of Praise: The text contrasts the Brahmanical tradition's praise of deities for destroying enemies alongside protecting the virtuous, with the Buddhist and Jain traditions' emphasis on universal compassion towards all beings, irrespective of their nature.
Attribute of Omniscience: Both Matruchet and Siddhasena Divakara praise their respective revered figures (Buddha and Mahavira) for their words establishing omniscience. Siddhasena additionally includes the purity of their physical form.

Conclusion:

The text underscores Matruchet's significant contribution to Indian hymnology, particularly his "Adhyarddha Shataka." It highlights his unique style of praise, his profound spiritual insights, and his far-reaching influence on subsequent poets within both Buddhist and Jain traditions. The survival and rediscovery of his work are presented as crucial for understanding the evolution of Indian literature and religious thought.