Vishnusahastra Nam Aur Jisahastra Nam - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Vishnusahastra nam aur Jisahastra Nam" by Lakshmichandra Saroj:

This article, "Vishnusahastra Nam aur Jisahastra Nam" by Lakshmichandra Saroj, draws a parallel between the popular Hindu hymn Vishnusahastranama (Thousand Names of Vishnu) and the Jain hymn Jinasahastranama (Thousand Names of Jinas). The author highlights their similarities and differences in purpose, structure, authorship, and philosophical underpinnings.

Similarities and Purpose:

Popularity and Practice: Both hymns are widely recited by devotees in their respective religious traditions. Hindus typically recite Vishnusahastranama after worship, while Jains often recite Jinasahastranama as a prelude to worship. Even for those who cannot recite the full hymn, offering an arghya (water offering) to the Jinas in its name is common, especially during the Paryushan or Dashalakshan festivals.
Naming Convention: The names of both hymns are literal; they contain approximately one thousand names of their respective deities. While Jinasahastranama has 1008 names, it's referred to as a "thousand names" similar to how a mala with 108 beads is called a "hundred," or a collection of more than 700 verses is called "Sat-sai" (seven hundred).
Verse Structure: Both hymns are composed in the Anushtubh meter of Sanskrit, which consists of four padas (lines) of eight syllables each.
Invocations and Benefits: Both hymns have introductions and conclusions that praise the respective deities and promise spiritual and worldly benefits for recitation. Vishnusahastranama's prelude states Vishnu is free from birth and death, all-pervasive, and the lord of all worlds, and reciting it daily removes all sorrows. Jinasahastranama's prelude describes the Jinas as passionless, possessing perfect knowledge, immortal, unborn, and unmoving, promising ultimate peace, happiness, and prosperity through remembering their names.
Devotion: Both hymns are rooted in devotion, serving as beacons of faith for their followers.
Shared Vocabulary: Due to linguistic and cultural influences, certain words appear in both hymns, such as Sthavistha, Svayambhu, Sambhav, Pundarikaksha, Suvrata, Hrishikesh, Shankara, Dhata, Hiranyagarbha, Sahasra-shirsha, and Dharmayupa. The author provides examples of shared names that highlight this similarity.

Differences and Artistic Nuances:

Authorship: Vishnusahastranama is attributed to the sage Vedavyasa and is found within the Mahabharata. Jinasahastranama is authored by Acharya Jinasena, renowned for his Adi Purana.
Structure of Preludes and Conclusions: While both have introductions and conclusions, Vishnusahastranama has thirteen introductory verses and twelve concluding verses. In contrast, Jinasahastranama has a longer introduction of thirty-three verses and a conclusion of thirteen verses. Vishnusahastranama comprises 142 verses in total, while Jinasahastranama has 167 verses.
Philosophical Focus: A key distinction lies in their philosophical orientation. Vishnusahastranama exhibits a blend of worldly engagement (laukika pravritti) and the assertion of kartritva-bhava (sense of doership). Conversely, Jinasahastranama primarily focuses on spiritual detachment and nivritti (renunciation), emphasizing vitaragata (passionlessness) throughout.
Deity Conception: In Vishnusahastranama, Vishnu is presented as the supreme, singular, supreme being. Jinasahastranama, however, clearly accepts all Jinas as omnipotent, possessing infinite knowledge, perception, strength, and bliss.
Narrative Context: Vishnusahastranama is narrated by Bhishma to Yudhishthira. Jinasahastranama is written by Jinasena for his readers, although the conclusion mentions that Indra used these names to praise the Lord.
Internal Division: Vishnusahastranama lacks internal divisions, perhaps because Vishnu's names are considered distinct. Jinasahastranama, however, is divided into ten sections of approximately one hundred names each. This division is speculated to be for the ease of recitation and offering arghyas, providing a break for the chanters.
Inclusivity vs. Specificity: The article notes the Hindu concept of samahara shakti (synthesizing power), where divine energies are manifested through multiple forms like Brahma, Vishnu, and Mahesh, and Vishnu's 24 avatars, including Rishabhadeva and Buddha. This is exemplified in a verse from Vishnusahastranama that encompasses various figures and concepts, including Ram, Lakshmana, Bharata, Shatrughna, Vasudeva, Sankarsana, Pradyumna, Aniruddha, as well as the spiritual states of Salokya, Samipya, Sayujya, Sarupya, and the Vedas. This verse also showcases the rhetorical device of anupras (alliteration).
Use of Opposing Terms: A verse from Vishnusahastranama is highlighted for its use of contradictory yet meaningful terms like Anu (minute), Brihat (large), Krisha (thin), Sthula (thick), Guna-bhrit (possessing qualities), Nirguna (without qualities), Adhruta (unsupported), and Swadhrita (self-supported), presenting the rhetorical figure of Virodhabhasa (paradox).
Specific Jain Terminology: The article points out the use of terms like Tirthankar, Shraman, Vrishabha, and Vardhaman in Vishnusahastranama as noteworthy for Hindi and Jain scholars.
Descriptive Power: The article praises the descriptive power of Jinasahastranama, citing a verse that describes the Jinas as patient like the earth, cool like water, non-possessive like air, and possessing an upward-moving nature like fire. It also commends Acharya Jinasena's elaborate use of words starting with the letter 'M' for profound praise.
Focus on Renunciation: All verses in Jinasahastranama are dedicated to the Jinas and emphasize spiritual nivritti (renunciation), contrasting with the worldly pravritti (engagement) found in certain names within Vishnusahastranama like Pushpahansa and Brahmapriya. The article highlights a verse from Jinasahastranama describing the Jina's ascetic practices, such as being clad in directions, sustained by wind, free from internal and external attachments, desireless, and possessing eyes of knowledge.
Syncretic Names: Interestingly, Jinasahastranama includes names like Brahma, Shiva, Buddha, Brahmyoni, Prabhvishnu, Achyuta, Hiranyagarbha, Shri-garbha, and Padmayoni, attributing them to the Jinas (those who have conquered their senses).
Shared Concepts of Divinity: Both hymns use similar terminology to describe the divine, such as Pranavah, Pranayaha, Pranah, Pranadah, Pranateshvarah (in Jinasahastranama) and Vaikunthah, Purushah, Pranah, Pranadah, Pranavah, Pathah (in Vishnusahastranama). Similarly, concepts like Pradhanatma Prakriti, Paramah, Paramodayah in Jinasahastranama find parallels in Yogayogavidam Neta, Pradhanapursheshvarah in Vishnusahastranama. Terms like Sadagati, Satkriti, Satta, Sadbhuti, Satyaparayanah, Sadayogah, Sadabhogah, Sodatruptah, Sadashivah are also found in Jinasahastranama.

Conclusion:

The author concludes that both Jinasahastranama and Vishnusahastranama share significant similarities in words, meanings, and sentiments. This commonality, the author suggests, transcends narrow self-interest and sectarianism, pointing towards emotional unity and religious tolerance. The article posits that in the realm of religion, qualities and actions hold more importance than lineage. The concluding sentences emphasize the absolute devotion of a devotee to the divine, a sentiment echoed in both hymns, asserting that the divine is everything – mother, father, kinsman, friend, knowledge, wealth, and indeed, all. Both hymns, when recited daily, promise the welfare of devotees in this world and the next.

A table (Table 1) is presented to summarize the key points of comparison between the two hymns.