Upmiti Bhav Prapanch Katha Prastav 01

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Overall Context:

This document is the Hindi translation of the first "Prastav" (section or chapter) of the "Upmiti Bhav Prapanch Katha," a significant Jain text. The translation is done by Nathuram Premi and published by Shri Jain Granthratna Press in Bombay in 1911. The book is presented as a gift from the Jain magazine "Jain Hiteshi."

Introduction and Publisher's Note (Pages 1-2):

• The text is presented as a valuable gift from the Jain magazine "Jain Hiteshi."
• It begins with a salutation to the Vitaraga (those free from passions).
• The title is "Upmiti Bhav Prapanch Katha" (प्रथम प्रस्ताव - First Section).
• The translator, Nathuram Premi of Deori, has translated it from the original Sanskrit text by Shri Siddharshi.
• It was printed at Karnatak Press in Bombay.
• The publication date is mentioned as Shri Veer Nirvana Samvat 2437, corresponding to 1911 CE.
• The publisher is Nathuram Premi, Proprietor of Shri Jain Granthratnakar Karyalaya, Girgaon, Bombay.

Translator's Preface (Bhumika) (Pages 3-8):

• Value of Jain Literature: Nathuram Premi expresses his deep admiration for Jain literature, calling the "Upmiti Bhav Prapanch Katha" a paramount gem. He believes it's unparalleled in Sanskrit literature and possibly in all of literature.
• Author and Work: The original Sanskrit author is identified as the great scholar Shri Siddharshi, who completed the work in Vikram Samvat 962 (which he estimates to be the 10th century CE). The text mentions a verse from the original work confirming the completion date.
• Author's Background and Conversion: Siddharshi, in his earlier life, was a gambler. Due to an incident involving his wife and mother, he left home at midnight and found refuge in a Jain monastic residence. This event marked a turning point, and under the influential teachings of his guru, Shri Gopi, he renounced his worldly habits and embraced Jainism. He then dedicated himself to rigorous study, developing his intellect, which culminated in the creation of works like "Upmiti Bhav Prapanch Katha."
• Siddharshi's Other Works: The translator mentions four known works by Siddharshi: this very text, a commentary on Dharmadas Gani's "Updeshmala," "Nyayavatara Vitti" (being printed by Dr. N. Marino in Russia), and "Shreechandra Kavi Charitra" in Prakrit.
• Siddharshi's Intellectual Journey: Siddharshi is said to have studied Buddhist texts for several years and almost became a Buddhist. However, studying Shri Haribhadra Suri's "Lalitavistar" firmly re-established him in Jainism, and he expressed his deep devotion to Haribhadra Suri in his writings.
• Autobiographical Elements: The translator suggests that the character Dharmabodhakar in the first section is inspired by Haribhadra Suri, and the character of the poor, unskilled person, Nishpunyak, represents Siddharshi himself. The text refers to Siddharshi's repeated mention of the soul as "So'yam mariyo jivah" (This is my soul) as evidence of this autobiographical reflection.
• Siddharshi's Virtues: Siddharshi is described as humble, generous, peaceful, gentle, modest, and insightful. His strong desire to benefit all beings was perhaps unparalleled at his time. He was a master of drawing vivid human emotions and adorning poetry with qualities like sweetness and grace. His poetry aimed for the welfare of beings, making even complex spiritual topics simple and enjoyable.
• Sectarian Harmony: Nathuram Premi acknowledges that Siddharshi was a Shvetambara Jain. He anticipates potential reservations from Digambara readers but urges for unity based on Jain principles like accepting truth regardless of its source ("Yuktimachanam yasya tasyah karyah parigrahah") and valuing inner qualities over external appearance ("Gunah pujasthanam gunishu na cha lingam na cha vayah"). He emphasizes that the text expounds the path taught by the Vitaragas and should be studied for its spiritual benefits, regardless of the author's sect.
• Translator's Effort: Nathuram Premi shares that he previously translated this section in Vikram Samvat 1965, but due to the prevalence of Sanskritized language and complex sentence structure, he found it flawed. This new translation aims for simplicity, clarity, and adherence to the original spirit, even if it takes liberties with word-for-word translation.
• Acknowledgments: He expresses gratitude to Shri Motichand Girdhar Kapadia (for his Gujarati translation) and Shri Pandit Manohar Lalji (teacher at Bombay Di. Jain Pathshala) for their assistance.
• Apology: He humbly requests forgiveness for any errors in his translation due to his limited knowledge.
• Goal: He hopes his effort benefits at least one Hindi-knowing person.

Mangalacharan (Invocation) (Pages 9-11):

• The text begins with invocations and salutations to the Supreme Soul (Paramatma) who has destroyed the darkness of great delusion, to the pure Dharma, to the Transcendent One free from decay, to the lion-like Tirthankaras who destroy the elephant of hatred, and to Lord Mahavir who has vanquished sins and desires.
• It also includes invocations to the nameless Mahatmas, to the teachings of the Jinas, to Goddess Saraswati, and specially to the Gurus who empower the translator.

Prastavana (Introduction/Prelude) (Pages 11-22):

• Duty of a Virtuous Person: It advises individuals who have attained the rare human birth, especially with good lineage and spiritual inclination, to abandon what is to be renounced, perform what is to be done, praise what is praiseworthy, and listen to what is worth hearing.
• Fourfold Actions: Any action (mental, verbal, physical) that causes even slight impurity and hinders liberation (ashrava) should be abandoned. Actions that purify the mind (shubhashrava) should be performed. The victorious Jinas, their teachings, and those who follow them should be praised. Those with pure faith (samyagdrushti) should attentively listen to the essence of the omniscient's words to destroy all flaws.
• Purpose of the Katha: The "Upmiti Bhav Prapanch Katha," which dispels great delusion and explains the cycle of births and deaths, is being presented according to the words of the omniscient, as they are beneficial and worth hearing.
• The Power of Omniscient Words: These words are described as the army that vanquishes inner forces like violence, theft, falsehood, misconduct, possessiveness, the five senses, the four passions (anger, pride, deceit, greed), and ignorance (mithyatva). They also highlight the qualities of the inner army of knowledge, vision, conduct, contentment, peace, austerity, self-control, truth, etc. Furthermore, they fully describe the painful cycle of infinite rebirths across different life forms.
• Analogy of a Wall: The author likens his reliance on the "great wall" of omniscient words to drawing water from a fountain, suggesting his words, though from an ordinary person, carry the essence of the divine teachings.
• Four Types of Narratives (Katha):
  1. Dharmakatha: Based on virtues like compassion, charity, forgiveness, aiming to purify the mind and lead to heaven and liberation.
  2. Arthkatha: Describes worldly affairs, ethics, crafts, and livelihoods, aiming at wealth creation. It is considered to lead to lower states of existence.
  3. Kamkatha: Focuses on sensual pleasures, alluring descriptions of charm and affection, increasing attachment to impure objects and leading to lower states.
  4. Sankirna Katha: A mixture of the above, often used to attract people to the spiritual path.
• Four Types of Listeners (Shrota):
  1. Tamasic (Inferior): Desires Arthkatha, driven by greed, sorrow, fear, anger, etc.
  2. Rajasic (Medium): Desires Kamkatha, driven by attachment and lack of discernment.
  3. Sattvic (Superior): Desires Dharmakatha with unwavering focus, aspiring for liberation.
  4. Var-Madhyam (Best of Medium): Desires Sankirna Katha for both worldly and otherworldly benefits.
• Condemnation of Arthkatha and Kamkatha: The text strongly advises against Arthkatha and Kamkatha, stating they fuel negative emotions and lead to unfortunate destinations. It compares indulging in them to adding salt to a wound.
• The Role of Sankirna Katha: Some Acharyas accept Sankirna Katha as a means to draw people towards Dharma, especially the less intelligent, by blending worldly topics with spiritual teachings.
• Language Choice: The author explains the dilemma of choosing between Sanskrit and Prakrit. Prakrit is easier for children, but some "Durvidagdh" (sophisticated but narrow-minded) individuals dislike it. He chooses a simplified Sanskrit for broader accessibility, ensuring it's understandable to both the "Durvidagdh" and the intelligent young.
• Meaning of the Title: "Upmiti Bhav Prapanch Katha" signifies the "comparison of the world's entanglement." It aims to highlight the similarities in the worldly cycle of life.
• Structure of the Katha: The story is divided into eight sections (Prastav). The first section details the purpose and structure. The subsequent sections will describe the journey of a worldly soul (Samsari Jiv) through different experiences, guided by "Sadagam" (good company/scripture) and "Agrhit Sanketa" (a concept representing worldly attachments). The narrative will cover the consequences of actions driven by senses and passions, leading to suffering and rebirth. The eighth section will focus on the soul's awakening and eventual liberation.
• Allegorical Nature: The text emphasizes that the descriptions within the story, even mundane aspects like marriages or relationships, are allegorical (Kalpit Upman) and should be understood in the context of spiritual principles.
• Conclusion of Prelude: The prelude concludes by reiterating the importance of understanding the allegorical nature of the narrative and sets the stage for the detailed story.

First Section (Pratham Prastav): The Story of Adrishtamoolparyant (Pages 23 onwards):

• The City of Adrishtamoolparyant: The story begins by describing a magnificent, ancient, and infinite city named Adrishtamoolparyant (meaning "beyond discovery of origin"). It's filled with vast markets, precious jewels, and beautiful temples, all captivating to the eye. The city is surrounded by an insurmountable wall, a deep moat, and beautiful lakes, making it formidable.
• The Poor Beggar Nishpunyak: Within this city lives a wretched beggar named Nishpunyak (meaning "one without virtue" or "unlucky"). He is emaciated, orphaned, unlucky, and devoid of wealth and strength. He wanders the streets, enduring insults, begging with a broken earthen pot. He is beaten by children, covered in dust, and afflicted by numerous diseases and suffering, comparable to hellish torments.
• The King Susthit and the Gatekeeper Swakarmvivar: The city is ruled by a benevolent King Susthit (meaning "well-established"). One day, Nishpunyak approaches the palace gate, guarded by Swakarmvivar (meaning "disruptor of one's own deeds"). The gatekeeper, moved by pity, allows Nishpunyak into the opulent palace.
• The Palace and its Inhabitants: The palace is described as dazzling, filled with the sounds of jewelry, the scent of perfumes, and the sights of noble citizens, ministers, warriors, wise women, singers, and dancers. Nishpunyak is astonished and wonders what this place is.
• The King's Compassionate Gaze: King Susthit, from the seventh floor, notices Nishpunyak, the wretched beggar, and gazes upon him with compassion, as if washing away his sins.
• The Officer Dharmabodhakar's Observation: The officer of the royal kitchen, Dharmabodhakar (meaning "revealer of Dharma"), observes the King's gaze on the beggar. He contemplates this unusual event, wondering how the King, whose glance elevates a person to kingship, would look upon such a lowly individual. He initially attributes it to the gatekeeper's discretion but then realizes the King's benevolence might be the cause. He concludes that Nishpunyak's willingness to see the palace, despite his condition, indicates a potential for future welfare, and the King's gaze signifies this. Dharmabodhakar develops compassion for Nishpunyak.
• The Offering of Food and Nishpunyak's Hesitation: Dharmabodhakar calls Nishpunyak and offers him the sacred Mahakalyanak (auspicious) Kheer (rice pudding). However, Nishpunyak, due to his ingrained habits and fear of losing his meager alms, hesitates. He thinks the King might have ulterior motives, or that the gatekeeper might snatch his alms. He is consumed by fear and paralyzing doubt.
• The Three Medicines: Dharmabodhakar identifies three "medicines" to cure Nishpunyak: Vimla Lok Anjan (pure sight eye medicine) to restore vision, Tattva Pritikar Teerthjal (essence-pleasing holy water) to cure diseases and impart clear vision, and Mahakalyanak Kheer (auspicious pudding) as a nourishing food that grants strength and longevity.
• The Administration of Medicines: Dharmabodhakar applies the Vimla Lok Anjan to Nishpunyak's eyes, restoring his sight and clearing his mind. Then, he forcibly gives him the Tattva Pritikar Teerthjal, which revitalizes him and alleviates his physical ailments.
• Nishpunyak's Realization and Devotion: Experiencing these benefits, Nishpunyak realizes his mistake in distrusting Dharmabodhakar. He feels immense gratitude and declares Dharmabodhakar as his only refuge.
• Dharmabodhakar's Guidance on Dharma: Dharmabodhakar advises Nishpunyak that the King is his true Lord and that following the King's teachings (Dharma) is the path to true well-being. He introduces the concept of the King's grace and the importance of devotion. He emphasizes that the King's blessings are bestowed upon the worthy.
• The Role of Sadbuddhi: Dharmabodhakar appoints Sadbuddhi (good intellect/wisdom) as Nishpunyak's attendant to guide him in adhering to the prescribed path and medicines.
• Nishpunyak's Transformation: With Sadbuddhi's guidance, Nishpunyak gradually sheds his old habits. He eats less of his old food, develops a desire for the "medicines," and his diseases start to heal. He begins to experience joy and peace.
• Nishpunyak's Desire for Pure Giving: Nishpunyak, feeling pride from his transformation and the King's favor, wishes to donate the "medicines" to others. However, he finds no takers. Sadbuddhi suggests leaving the medicines in a public place for anyone to take, symbolizing the importance of selfless giving.
• Nishpunyak's Progress and Renunciation: Through consistent efforts and guidance, Nishpunyak eventually abandons his old, unwholesome food entirely, gaining true health and happiness. His name changes from Nishpunyak to Sapunya (virtuous).
• The Allegory: The entire story is an allegory:
  • Adrishtamoolparyant City = The boundless cycle of worldly existence.
  • Nishpunyak = The soul before gaining true knowledge.
  • King Susthit = The Omniscient Lord (Jineshwar).
  • Palace = Jainism (Jin Shasan).
  • Swakarmvivar Gatekeeper = The cessation of karmas.
  • Dharmabodhakar = The spiritual guide/Acharya.
  • Sadbuddhi = True wisdom/intellect.
  • The Three Medicines = Samyagdarshan (Right Faith), Samyagnyan (Right Knowledge), and Samyagcharitra (Right Conduct) - the Three Jewels.
  • Nishpunyak's bad food = Worldly desires, attachments, and unwholesome actions.
  • The King's gaze = The grace of the Omniscient.
  • The King's favour = The potential for liberation.

Detailed Allegory (Vistrit Daant) (Pages 54 onwards):

• The text elaborates on the allegorical meaning of each element in the story, connecting the city, the characters, and their actions to the spiritual journey of the soul. It explains how the soul, like Nishpunyak, is trapped in a cycle of suffering due to ignorance, passions, and attachment to worldly pleasures. The path to liberation is shown through the guidance of the Omniscient (King Susthit) and the Acharyas (Dharmabodhakar), leading to the adoption of the Three Jewels (medicines). The narrative emphasizes that true happiness and liberation come from renouncing worldly attachments and embracing the teachings of Jainism.

This summary covers the key aspects presented in the provided pages, focusing on the translator's preface, the invocation, the structure and purpose of the "Prastav," and the allegorical interpretation of the story of Nishpunyak.