Yoga Aur Nari - Book Summary | JainGPT

Here's a comprehensive summary of the provided Jain text, "Yoga aur Nari" by Govindram Vyas:

The article "Yoga aur Nari" (Yoga and Woman) by Pandit Govindram Vyas, published in the Shri Pushkarmuni Abhinandan Granth, explores the connection between yoga and women within the framework of Indian philosophy and Jainism.

The Ultimate Goal of Indian Philosophy:

Vyas begins by stating that the ultimate goal of Indian philosophies is Moksha (liberation). While some philosophies define Moksha as the absolute cessation of suffering, others consider it the attainment of eternal and inherent happiness. Vyas posits that these two definitions are essentially the same, as the attainment of happiness naturally leads to the complete and ultimate cessation of suffering. He highlights that while Vaisheshika, Nyaya, Samkhya, Yoga, and Buddhism focus on the cessation of suffering, Vedanta and Jainism emphasize the attainment of eternal and intrinsic happiness. Both Vedanta and Jainism consider the soul (Atman in Vedanta, Atma in Jainism) to be inherently blissful, and Moksha is the manifestation of this infinite happiness.

Yoga as a Path to Liberation:

Various philosophies have proposed different methods to achieve Moksha. Vyas specifically mentions Maharishi Patanjali's systematic presentation of Yoga as a beautiful progression of practices. He notes that all Indian traditions, including Vedic, Buddhist, and Jain, have created excellent literature on this important practical and developmental process of Yoga. Leading thinkers from all three traditions have authored numerous Yoga-related texts in various languages.

Women's Role in Yoga:

Crucially, Vyas asserts that women have always been at the forefront of Yoga practice, not just men. Yoga is an spiritual discipline where gender is not a barrier. Both men and women can equally practice Yoga and achieve complete spiritual development in their lives.

Acharaya Haribhadra and the Eight Yoga-Glimpses (Yoga-Drishtis):

The author then introduces Acharya Haribhadra, considered the first writer on Jain Yoga, who lived in the 8th century. Acharya Haribhadra authored four significant works on Yoga: "Yogashataka" and "Yogavimshika" in Prakrit, and "Yogabindu" and "Yogadrishtisamucccaya" in Sanskrit. Vyas emphasizes that Haribhadra's contributions to Yoga literature are novel and significant not just for Jain Yoga but for the entire stream of Yoga thought.

Vyas explains that Jainism describes the spiritual development process through the fourteen stages of spiritual progress (Chaturdash Gunasthanas), and also through the states of external soul (Bahiratman), internal soul (Antaratman), and supreme soul (Paramatman). Acharya Haribhadra mapped this spiritual development onto Yoga, presenting it through eight types of Yoga-Glimpses (Yoga-Drishtis).

Analysis of the Eight Yoga-Drishtis and their Connection to Women:

Vyas then delves into the meaning and significance of these eight Yoga-Drishtis, connecting each one to the qualities and roles of women, often by interpreting their feminine-sounding names:

Mitra (Friend): The first Yoga-Drishti is named Mitra, meaning "friend." Vyas believes this name directly relates to women, emphasizing their innate quality of friendship. He draws parallels to the "Saptapadi mantra" in the Mahabharata and the mythological story of Savitri's seven steps with Yama, which established a friendly relationship and led to the revival of Satyavan. Vyas suggests that a woman, through her friendly disposition, can even conquer Yama (the god of death). This Drishti signifies a subtle inner connection and the absence of the need for external validation.
Tara (Star): Tara is presented as a symbol of Indian womanhood's pride. Vyas refers to the legendary queen Tara, who endured immense suffering to uphold her husband Harishchandra's truth, even serving as a maid. This Drishti represents a slight clarity in vision and adherence to rules, with a constant curiosity about the truth without agitation. It symbolizes a divine radiance within the eyes of a devoted wife practicing Yoga.
Bala (Strength): While women are often called "abala" (weak), Vyas asserts they are also "sabala" (strong) and symbols of power, citing the worship of Durga. He imagines a past woman named Bala who brought glory to women through her immense strength. This Drishti signifies deep contemplation in a stable posture, free from hindrances and distractions in sadhana, characterized by firmness and efficiency.
Dipta (Luminous): This Drishti represents the woman who always keeps the flame of her sadhana burning bright. She reignites the fading thoughts of meditation. Vyas mentions Brahmi and Sundari who brought down Bahubali's pride and Rajamati who stabilized Rathnemi's sadhana as examples of women who kept spiritual practice luminous.
Sthira (Stable): Women are described as stable like the earth and unwavering like the Himalayas. This Drishti signifies the ability to remain steady in sadhana with pure intentions, providing a strong inspiration for stability in family, society, and the nation. It involves a steady contemplation, withdrawal of senses, and subtle understanding.
Kanta (Beloved): This Drishti embodies detachment from worldly passions and inclination towards one's true nature. Vyas connects it to Patanjali's sixth limb of Yoga, Dharana (concentration), which means embodying the soul's virtues. A woman in her "Kanta" state shines brightly, abandoning external attachments and finding joy solely in her true self.
Prabha (Radiance): Acharya calls this Drishti "Dhyana-Priya" (beloved of meditation). A woman with this Drishti remains absorbed in meditation even amidst societal activities. Though she may not perform outward Yoga like ascetics due to her physical constitution, she can remain at the forefront of spiritual inquiry every moment and inspire others towards Yoga through her radiance.
Para (Transcendent): The eighth Drishti, Para, means "beyond." It signifies transcending life's limitations, being free from attachment, overcoming crises with good intentions, destroying doubts, and stabilizing in Samadhi. Vyas sees this as Acharya Haribhadra's portrayal of the brilliant aspect of a woman.

Conclusion:

Vyas concludes by stating that he has used Acharya Haribhadra's eight Yoga-Drishtis as a basis to associate them with Indian women through his imagination. He believes that these Drishtis were named with specific Indian women and their virtues in mind. Vyas powerfully asserts that woman is not a serpent but a form of Narayana, an embodiment of inspiration, and a unique practitioner who inspires others towards sadhana. He reiterates that women have always been ahead in the field of spiritual practice, even surpassing men in their steps towards sadhana. He cites Mata Marudevi as the first soul to attain liberation in Jainism, who was a woman, and emphasizes that women have consistently led in sadhana in every era. Vyas expresses his belief that if women advance in Yoga in the modern era, new dimensions of Yoga can be unveiled, as women possess the inherent power and capacity for greater spiritual development.