Vividh Bhas Rachnao

Here's a comprehensive summary in English of the provided Jain text, "Vividh Bhas Rachnao" by Shilchandrasuri:

The book "Vividh Bhas Rachnao" by Shilchandrasuri presents eight short compositions by Muni Chandranath, which the author himself terms as "Bhas." These compositions were published in an issue of "Anusandhan" dedicated to Vijayashilchandra Suri, under the title "Pannar Tithi." The primary source for this compilation was a manuscript that also contained these eight "Bhas" on pages 11 to 13.

The introduction highlights that some of these "Bhas" are in the "Gahuli" style, a poetic form traditionally sung by Jain monks after delivering sermons. These "Gahulis" could be simple praises or contain profound philosophical content. The text notes that the first "Bhas" is indeed a "Gahuli" and is filled with philosophical sentiments, as is the second composition.

A significant point made is the author's (Muni Chandranath's) likely affiliation with the idol-worshipping sect of Jainism, evidenced by the mention of "Ogho ne Momati" (referring to the rajoharan and muhapatti, essential items used in worship and ritual) in the first "Bhas" (verse 7). Conversely, the second "Bhas" mentions "Pravachansar" (verse 6), a text associated with the Digambara tradition, suggesting a potential engagement with different doctrinal perspectives. The overall reading of the compositions indicates that Muni Chandranath possessed a personality inclined towards spirituality and the Nishchaya Naya (the ultimate, absolute perspective).

The author frequently invokes "Budhdev," which is speculated to be the name of his guru.

• The third "Bhas" focuses on knowledge, scripture (Agam), and spiritual energy. The line "Tirath ki kirtan vandana, archana pooja kije re" (verse 3) is interpreted as a pointer towards idol worship.
• The fourth "Bhas" also emphasizes knowledge and spirituality, with the line "Jin darshan nit kije" (verse 4) suggesting a devotion to idol worship.
• The fifth "Bhas" follows a similar theme, noting the mention of "Nigam" (referring to Vedic literature or philosophical treatises) in verse 6.
• The sixth "Bhas" takes a different approach, detailing the concept of "Navdha Bhakti" (ninefold devotion). It discusses how one protected by the Bhagavant (Lord) faces no fear, providing various examples. This aspect, the text notes, is somewhat surprising given the author's perceived focus on Vitragata (non-attachment) and spiritual principles.
• The seventh "Bhas" is described as a profound and philosophical composition akin to an Upanishad, comparable to the works of a mystic, pure, and unblemished devotee who worships the ultimate truth.
• The eighth "Bhas" is a melodious devotional composition (Stavan) in the tradition of Jain poets, specifically praising Lord Parshvanatha. However, the author subtly weaves in his preferred vocabulary, steering the devotion towards spiritual realization. Despite attempts to conceal it, the "devotee" within the poet's heart is evident.

The compilation concludes by expressing joy in presenting these further compositions by Muni Chandranath, also referred to as Dharmadatta Dev.

The subsequent pages then present the actual compositions of the "Bhas" with their respective titles and the concluding remarks of the author. The introductory remarks analyze the content and style of each "Bhas," highlighting the philosophical and devotional aspects, as well as the potential doctrinal leanings of Muni Chandranath.