Urdubhashabaddha Tran Krutio

This document, titled "Urdubhashabaddha Tran Krutio" (Three Works Composed in Urdu Language) and compiled by Muni Bhuvanchandra, presents three Jain devotional works written in the Urdu language.

The introduction highlights the vastness of Jain devotional literature across various forms like chhand (verses), stotra (hymns), and stuti (praise). It notes the emergence of Urdu from the fusion of Persian and Arabic with Hindi during the Muslim rule in India, and emphasizes that Jain monks did not hesitate to use this popular medium for religious purposes, a practice consistent with the ancient tradition of utilizing accessible means for dharma.

Key points about the presented works:

• Source: Three manuscripts of Urdu stotras were found in the Gyanbhandar of the Parshwachandr Gachchha in Shamlani Pol, Ahmedabad.
• Authorship:
  • The first two works are attributed to Yati Mohanvijay, likely the same author famous for "Chandrajano Ras." Similarities in composition are noted between these two stotras.
  • The third work is by Naypramod, a poet from the Kharatar Gachchha. A work by this poet from VS 1713 is recorded in the Jain Gurjar Kavi index.
• Language:
  • The first two works are fully composed in Urdu.
  • The third work primarily uses Urdu words within a Gujarati framework.
• Presentation:
  • Both the first two works are accompanied by Gujarati explanations of their meaning, presented in a style similar to 'Balavabodh' (childlike explanations).
  • The words in the stotras are separated and shown with phonetic markers.
  • The second work is noted to be written "in Parsian" (meaning Persian/Farsi).
  • The manuscripts are written by hand, and the year of writing is not recorded. Both pages are estimated to be around 150 years old.
• Editorial Efforts: Despite the compiler's limited knowledge of Urdu, efforts have been made to purify the text with the help of a dictionary. Some passages remain unclear or contain errors, with an expectation for scholars to provide further refinement.

Glossary of Urdu Words: Page 2 provides a glossary of Urdu words used in the texts, along with their meanings and approximate pronunciations. Some notable terms include:

• Man - I, my
• Kadar (Qadir) - All-powerful
• Farzan (Farzand) - Son
• Dar - In, inside
• Tasavvuf (Tasavvuf?) - Praise, glorification
• Lutf (Lutf) - Grace, kindness
• Shab-o-roz (Shab-o-roz) - Night and day
• Chashm (Chashm) - Eye
• Talab (Talab) - Desire, wish
• Raheb (Rahib) - Ascetic, monk
• Giti (Giti) - World
• Bandi (Bandi) - Devotion, servitude
• Khuda (Khuda) - God
• Buzurg (Buzurg) - Elder, respected person
• Ilm (Ilm) - Knowledge, scripture
• Khaak (Khak) - Dust
• Khidmatgar (Khidmatgar) - Servant
• Madar (Madar) - Mother
• Pidar (Pidar) - Father
• Bin (Bin) - Son
• Khalq (Khalq) - People, creation
• Banda (Banda) - Devotee, servant
• Chashm-e-roshan (Chashm-e-roshan) - Delightful to the eyes
• Pesh (Pesh) - Before, in front
• Ghair (Ghair) - Other, incorrect
• Dargah (Dargah) - Court, abode

Content of the Stotras (Summarized from pages 3-8): The stotras are devotional songs addressed to Lord Parshvanatha, often referred to as "Godi Parshva" or "Shankheshwar Parshva." They express:

• Devotion and Surrender: The poets express their complete surrender to the Lord, seeking His protection and grace. They acknowledge their own shortcomings and the Lord's omnipotence.
• Seeking Divine Grace: The verses plead for the Lord's mercy, a glance of kindness, and liberation from suffering and the cycle of birth and death.
• Praise of the Lord's Qualities: The Lord is praised for His power, greatness, and as the sustainer of the universe. He is described as the ultimate refuge.
• Personal Supplication: The poets, identifying themselves as humble devotees like "Mohan," express their personal desires for spiritual upliftment and liberation.
• Metaphorical Language: The use of Urdu vocabulary enriches the devotional expression, with terms like "Chashm-e-roshan" (delight to the eyes) and "Khuda" (God) being integrated into the praise.
• The third work (starting from page 7, marked with [B] and [3]) seems to be a more elaborate "Parshva Chand" (ode to Parshva) in a meter called "Motidam." It describes the auspicious signs and glories of Lord Parshvanatha at Shankheshwar, the beauty of celestial damsels, and the boons received through his remembrance. It also refers to him as "Akbar Ilahi" (Great God) and seeks his blessings for auspicious outcomes. The poem concludes with a "Kalash" (concluding verse) by Naypramod, reiterating the benefits of remembering the Lord's name.

In essence, "Urdubhashabaddha Tran Krutio" offers a glimpse into the adaptable nature of Jain devotional literature, showcasing how spiritual sentiments were expressed in the prevalent language of the time, Urdu, by eminent Jain scholars.