Ramayana of Valmiki and the Jain Puranas

Author(s): Upendra Thakur
Publisher: Z_Deshbhushanji_Maharaj_Abhinandan_Granth_012045.pdf
Catalog link: https://jainqq.org/explore/250263/1

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The Ramayana of Valmiki and the Jaina Puranas - Dr. Upendra Thakur Although there is no sanction for the Brahmanical way of life in Jainism, the epics nevertheless exert considerable influence on ideas and messages, legends and myths and moral of Jaina mythology. A study of the early texts of Jainism would show that the epics occupied a prominent position among the Jainas during the period of the redaction of the Jaina canons. They served them not only as guides in mundane affairs but also as perennial sources of inspiration on ethical and spiritual planes. This resulted in the influx of a number of non-Jaina customs and practices into the Jaina society. The popular appeal of these elements was so great that the Jaina savants had to formally sanction them towards the end of the first millennium A.D. In fact, the epics exerted such a tremendous influence on the minds of the adherents of the faith that it became difficult for the Jaina preachers to win them over, to pure Jainism. They found the epics more inspiring than the Jaina works," which is confirmed by the fact that the first Jaina Purana, by such a staunch advocate of Jainism as Vimalasuri, relates to the life-story of Rama, and the Jaina versions of Rama-biography, by far, outnumber the Puranic works on any individual Salakapurusa.3 The influence of the epics has been so great with the protagonists of the Jaina faith that they, directly or indirectly, recognised it by way of reactions shown against these works in the introductory portions of their Puranas 4 A close analysis of the reactions of the Jaina authors would make it clear that the Jaina Puranas have been considerably enriched by the ideas and plots taken from the epics. The circumstances leading to the borrowing of various ideas and themes by the Jaina authors may be explained by the fact that the majority of the Jainas were converts from the Brahmanical faith, brought up in the Brahmanical epicPuranic environment, which is further testified by the elaborate Diksanvayakriyas to be performed by the converts before they were received into the Jaina faith. Infact, an impartial analysis of the Jaina customs and manners, beliefs and superstitions would clearly prove that they were chiefly moulded by the ideals set forth by the two great epics. Difference in their religious practices resulting from the change of faith made 1. Yasastilaka, BK, VIT, Sec. 34; K.K. Handiqui, Yasastilaka and Indian Culture, p. 332. 2. Cf. Ayodhya Prasad Goyaleya, Rama and Mahavira in Sri Mahavira Comm. Vol. Vol. 1 (1948-49). 3. V.M. Kulakarni, Introduction to Paumacariya (PTS ed.), Canto. II, pp. 5-7. 4. S.D. Jha, Aspects of Brahmanical Influence on the Jaina Mythology, p. 15; Also see Paumacariya, Canto. II, 105-117; Padmacarita, Parva 2, verses 230-35; JVH., 45. 150-57; SPC, 1-10, 1-9 ; PMP, I.XIX, 3. 3-13. 5. Mahapurana, 39. 1-80. 6. R.C. Majumdar, The Age of Imperial Unity, p. 252. AcAryaratna zrI dezabhaSaNa jI mahArAja abhinandana grantha

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no significant change in their age-old mental frame, and for centuries the epics remained their principal guides which served as a suitable outlet for their emotions and aspirations. This necessitated incorporation of some myths and legends of universal appeal in their corpus, though in somewhat Jainised way.1 It was probably this state of affairs that led to the inclusion of the Ramayana and the Mahabharata in the Jajna curriculum of education before the compilation of the Jaina canons. In the Anuyogadvara the recitation of the two epics is referred to as a compulsory rite to be performed without fail.3 But, the introduction of that hybrid education produced a reaction which was not conducive to the progress and popularity of the faith, for it began to dampen people's conviction in the Jaina religion in which, the lay adherents could not find any scope for the realisation of their ideals."4 A close examination of the methods by the Jaina thinkers to counteract the ascendancy of the epics and to ensure the unswerving adherence of the lay to the faith",5 would show that the Jaina authors adopted the very method of the great epics--the Ramayana and the Mahabharata which in the beginning they had condemned. The same epican ideas and plots, under the garb of Jainism were reproduced by the Jaina authors, showing clearly that they endeavoured to provide the common people with some such documents as could serve as suitable substitutes for the Brahmanical epics and Puranas''. Thus, they utilised the epicPuranic tradition in their own pantheon with necessary modifications with the result that almost all the epic-Puranic gods and goddesses, Gandharvas and Yaksas and a host of other mythical figures as well as myths and legends connected with them were fully assimilated in the Jaina religious beliefs and the Puranas.? The nature and contents of the Jaina Caritas and Puranas as well as the tone and technique are strikingly similar to those of the epics. "It has been rightly said that with the exception of the Puranas written in Prakta and Apabhsamsa, all the Puranas are composed mainly in anustubha metre-a favourite metre of the epics -- with occasional introduction of later Kavya diction." Coming to the Ramayana, we find that Vimalasuri's Paumacariya (c.100 A.D.) is the earliest existant non-canonical literary Svetambara work written, according to the poet himself, 530 years after the emancipation (siddhi) of Lord Mahavira. This Jajna Purana narrates the story of the Valmiki-Ramayana though "in a Jainised way". As regards the details there are many points of difference, nevertheless the general run of the parrative makes no significant departure from the traditional accounts of Rama's exploits. A study of this work, in between the lines, would show that even where changes have been introduced, the similarities are really "far more striking than the differences" 10 The introductory portion of this Jaina 1. 2. 3. 4. 5. S.D. Jha, op cit., p. 16; Also cf. Uttaradhya yanasutra which is replete with such references. Cf. Anuyogadvara, Su. 25. J.C. Jain, Life in Ancient India as depicted in the Jain Canons, p. 171. S.D. Jha, op cit., p. 16. Ibid, p. 16. S.D. Jha, op cit., pp. 16-17. Ibid., p. 17. Ibid , p. 17. V.M. Kulkarni, Paumacariya, Intro. pp. 5-6 ; "The Origin and Development of the Rama-Story in Jaina Literature" in Journal of the Oriental Institute, Vol. IX, No. 2. S.D. Jha, op. cit., p. 18. 7. 8. . 9. 10. jaina sAhityAnuzIlama

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Purana is quite interesting as it shows how the Jaina authors reacted against the Ramayana of Valmiki despite the fact that they have drawn heavily from the great Indian epic.1 This celebrated poem of Vimalasuri is also known as Raghavacaritam. A study of a few verses of the second chapter of this work marks out clearly his attitude towards the Brahmanical Rama-story, represented by Valmiki. The work undoubtedly shows Vimala's deep familiarity the original Ramayana of Valmiki to which he has referred by name, and has also mentioned events, "described in the original version, using almost the same language" His description of Kumbhakarana and his undisturbed sleep for six months is on the same pattern as we have in the Valmiki Ramayana. But, as a devout Jaina and a firm believer in the doctrine of non-violence he is not prepared to believe that the demons (Raksasas) of Lanka consumed animal flesh. He calls these Raksasas as Vidyadharas, "though sometimes he forgetfully calls them also Raksasas" who are throughout his work protrayed as staunch Jainas. Although he writes the story of Padma (Rama), he actually eulogises, in the first half of his story, Ravana who "like Naravahanadatta, appears in this poem as perfect knight-errant. As a matter of fact, the ghost of Naravahanadatta looms large in all the literary works beginning from Vimalasuri down to Hemacandra."5 Vimala not only shows his full acquaintance with the events narrated in the Sanskrit Ramayana, he was also thoroughly conversant with its language. Although he criticises the earlier poets by contemptuously calling them Kukavi (bad poets), mudhah (fools), he actually follows in their footsteps and freely borrows phrases and expressions of the original Ramayana. Moreover, while telling the story of Rama and Ravana he also brings in something about different Jaina tirthankaras and other interesting details, obviously a product of his own imagination." A comparative study of the Sanskrit Ramayana and the Prakrta poem of Vimala leaves us in no doubt that the latter, (1st century A.D.), has deliberately followed the original Rama-story although he has shown his Jaina bias here and there. However, the work of Vimalasuri forms the foundation on which later Jaina writers such as Ravisena, Svayambhu and others "built lofty edifices". The Vasudevahindi is another non-canonical Svetambara text written by Sanghadasagani Vacaka and Dharmasenagani in the Gupta period. It is probably the earliest imitation of the famous Brhatkatha written by Gunadhya in the Paisaci language in the time of the Satavahanas. The story of Rama, as given in this text, is almost entirely taken from the original Ramayana though, like the Padmacarita we come across deviations in respect of certain characters such as Laksmana, not Rama, killing Ravana. Similarly, a perusal of Haribhadra's Samaraic-chakaha leads us to conclude that his only purpose was to ridicule the stories of the Hindu epics and Puranas. The second great work belonging to this category, in chronological order, is the Padmacarita or 1. Palmacariya, 2. 107-117; 3. 8-16. 2. A.K. Chatterjee, A Comprehensive History of Jainism, p. 274. 3. VR. VI. 60. 27-63 & VI. 61.28. 4. Raghavacaritam, 2.105; 7.92; A.K. Chatterji, op cit., p. 275; For details see Hiralal Jain, Bharatiya Sanskriti men Jainadharma Ka Yogadana, pp. 130-134, 153. 5. A.K. Chatterjee, op cit., p. 275. 6. 7. 8. 30 For other details see Ibid., pp. 274-77. For details see Ibid., p. 278; Nathuram Premi, Jaina Sahitya aura Itihasu (Hindi), Bombay, 1956, pp. 87-101; Jagadish Chandra Jain, Prak rta Sahitya Ka Itihasa, p. 527ff. For other details see Jagadish Chandra Jain, Prakrta Sahitya Ka Itihasa (Hindi), Varanasi, 1961, Pp. 390 fl AcArya ratna zrI dezabhUSaNa jI mahArAja abhinandana grantha

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Padma-Purana (A. D. 678) of Ravisena, which is a faithful Sanskrit version of the Praksta Paumacariya of Vimalasuri. However, the interesting point to take note of in this connection is that Ravisena imitates Vimalasuri wholesale but makes no acknowledgement of his indebtedness to the latter anywhere, probably because the former was a staunch Digambara, and the latter a devout Svetambara. The introductory chapter of this work also betrays the same critical attitude towards the Ramayana of Valmiki as in the Paumacariya. It has been rightly suggested that "the way, in which the reflection is found, is an obvious evidence of the author's anxiety for minimising the fame and popularity of the Valmiki Ramayana among the Jaina lay. This undoubtedly proves that the Ramayana was fairly popular and accurately known and widely studied among the Jainas during this period. As regards the accounts of the families of Rama and Ravana the Jainas had no well-established tradition howsoever to fall back upon. Vimalasuri himself says that the Rama-story existed in the form of a list of names and was handed down from teacher to his pupil in regular succession. The Jaina authors although claim a very old tradition for their legendary narratives, yet there seems to have been an earnest desire on their part to invest their versions with an element of antiquity and authenticity with a view to proving an ancient tradition of the Rama-story in Jaina mythology It seems that before the advent of Ravisena on the literary scene, there flourished one Kirtidhara who attempted to translate the Prakta Kavya of Vimala, but the popularity of Ravisena's work completely overshadowed the poem of Kirtidhara which was almost foregotten in subsequent years The Padma-Purana or Padmacarita is not a mere translation, it is a brilliant piece of poetical fervour, and the description of war-preparations and love-scenes remind us of Bana's style which seems to have inspired all his writings. The Raghara-Pandaviya or Dvisandhana, an epic in eighteen cantos, was composed by the wellknown Dhananjaya about whose personal life we know nothing except that his father was one Vasudeva and his mother one Sridevi. This work has been highly spoken of by many eminent poets including Rajasekhara. The theme of this work is based on the two Hindu epics- The Ramayana and Mahabharata and "unlike most Jaina works the characters are not represented as embracing the religion of the Jinas". Dhananjaya was inspired by the writings of the great Sanskrit poets such as Kalidasa, Bharavi and Magha, and he in turn inspired the later Jaina poets and philosophers from 800 A. D. which is evident from a study of their works. The Harivansa Purana of Jinasena (A. D. 783) is another great work in this field and is considered to be the earliest known Jaina version of the Brahmanical Harivansa It is true, Jinasena has introduced many changes as regards the detailed description of the exploits of the members of the Hari-dynasty, nevertheless the main theme does not in the least betray any departure from the original account given by Valmiki in his Ramayana. This is particularly true of the gnomic-didactic and descriptive passages containing both idealogical and phraseological parallelisms : for instance, verse 77 of the eighth parvan of the Adi-Puranas of Jinasena which describes the utter impermanence of the worldly objects is somewhat akin to 1. R. C. Majumdar (ed.), The Age of the Imperial Guptas, p. 292. 2. Padmacarita, 3.17-27 ; 8.146-49. 3. Paumacariya. : nAmAvaliyanibaddha Ayariya paraMparAgayaM savvaM / bocchAmi paumacariyaM ahANapuvviM samAseNa / / 4. A. K. Charterjee, op. cit., p. 303. 5. Adi-Purana. 8.77 : sukhaM duHkhAnubandhIdaM sadA sanidhanaM dhanam / saMyogA viprayogAntA viSadantAzca sampadaH / / caina sAhityAnuzIlana

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the one, found in the Valmiki-Ramayana.1 When Jinasena describes poetically the autumnal moon-lit night, the influence of Valmiki can be clearly discerned. Like Valmiki he also conceives "the starry night with the brilliantly shining moon as a lake abounding in lilies and occupied by a swan". In fact, the description of the autumn by Jinasena is "an ingenious imitation of the VR which has given the former not only a powerful vocabulary of literary terms but also whetted his imaginative brain for the graphic description of several situations". The pen-sketch presented by Jinasena of the autumnal bello wing of the excited bullsenraged at the right of the counterparts and ready for fight, "with reddened eyes, and scratching ground with their hoofs" is almost similar to the one given by Valmiki in his Ramayana. In other words, if we make a close and careful comparative study of all the Jaina Puranas on the one hand and the Ramayana on the other, we shall come across several cases of verbal agreemcot between them. Besides the Hari-dynasty, Jinasena, while describing the exploits of Vasudeva, shows his "ingenuity in inventing new situations by blending together the materials borrowed from the Vasudevahindi and the Byhatkatha". Gunabhadra, like his great preceptor Jinasena, was also an accomplished poet who had composed the last portion of his teacher's great work, the Adipurana and the whole of the Uttara Purana.' But, he has also deliberately distorted the story of Valmiki as given in chapters 67-68 of his work which depicts Dasaratha, like the DasarathaJataka, as king of Varanasi, Sita as daughter of Ravana and Mandodari, one Subala as Rama's mother, and Laksmana as son of Kekayi. This story of Gunabhadra follows closely I. 2. 3. 4. VR. II. 105.16: sarve kSayAntA nicayA: patanAntA samuccha yAH / saMyogA-viprayogAntA maraNAntaM ca jIvitam / / Cf. the following two verses : tArakAkumudAkIrNe nabhaH sarasi nirmle| haMsAyate sma zItAMzuvikSiptakarapakSatiH / / (Adi-Purana, 26.27). suptakahaMsaM kumudairupetaM mahAhRdasthaM salilaM vibhAti / ghanaivimukte nizipUrNacandraM tArAgaNAkIrNamivAntarikSam // (Ram. Kisk. 30.48). S. D. Jha, op. cit., p. 4. Cf. the following verses : dodhurAH khurotkhAtabhuvaH tAmrIkRtekSaNAH / vRSA: prativRSAlokakupitAH pratisasvanuH / / (Maha purana of Adisena, 26 42). zaradguNApyAyitarUpazobhA: praharSitA: pAMsusamukSitAGgAH / madotkaTA: samprati yuddhalabdhA vRSA gavAM madhyagatA nadanti / / (Ram-Kiski, 30.38). Also cf. Ram. Kisk. 30.47 ff and Mahapurana 26.35 ff. Cf. the following : na ca saMkucitaH panthA yena vAlI hato gataH / samaye tiSTha sugrAva mA bAlipathamanvagAH / / (Ram. IV. 30.81). mA sAhasagategiM rAma: saMkucito na saH / / (Trisastiialakapurusucarita of Hemacandra, 7.6. 189 b.). S. D. Jha, op. cit., p. 19. Edited published : Bharatiya Jnanapitha, Varanasi, 1954. An earlier edition of this work was published from Indore io V. S. 1975. AcAryaratna zrI dezabhUSaNa jI mahArAja abhinandana grantha 5. 6. 7.

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the story told in the Adbhuta-Ramayana. Similarly he has brought in many changes while treating the story of the Mahabharata. But, unlike other Jaina poets, Gunabhadra has the frankness and sincerity to advise his readers to consult the original text for details. The Dhurtakhyana" of Haribhadra is an interesting composition containing five akhyanas or stories which are full of satirical remarks on the various characters in the Romayana, Mahabharata and Puranas, true to the Jaina tradition of ridiculing the Hindu epics. Svayambhu's Paumacaria (C. 700-900 A. D.)' is the third known work on the life-story of Rama. Written in aprabhamsa, the work follows Valmiki more closely than those of his predecessors, and like Valmiki he has also divided his work into five books, called Kandas which, with the exception of the first Kanda, bear the same names as in the Valmiki-Ramayana. As to the nomenclature of the first Kanda it has been rightly suggested that the author has, like the earlier Jaina Puranakaras, followed the novel tradition of absolving the Raksas as of the Valmik i-Ramayana from their abominable Raksasa-hood by portraying them as the off-springs of the Vidyadhara race. As the first book deals with the origin of the Vidyadharas, it has been styled as Vidyadhara-kanda. The five Kandas as named by Svayambhu are as follows: (i) Vijjahara-kanda (Vidyadhara-kanda). (ii) Ujjha-kanda (Ayodhya-kanda). (iii) Sundara-kanda (Sundara-kanda). (iv) Jujjha-kanda (Yuddha-kanda) (v) Uttara-kanda (Uttara-kanda). Except in the first Kanda, there is no remarkable difference in details so far as other Kandas are concerned. The spirit of the age, which accepted one Supreme Soul of the universe, the Highest Reality (Paratpara), effected emotional integerity among the various sects of Hinduism, and this trend also seems to have influenced Svayambhu to a large extent. Iospired by the idea of essential unity among the divergent god-concepts, he applies to the Jinas all the popular names and epithets of the gods such as Narayana, Dinakara, Siva, Varuna, Hari, Brahma, Hara, Buddha etc., and these have been used to suggest one Absolute Reality, albeit in the form of the Jina. The Mahapurana of Puspadanta (950-965 A.D.), also known as Trisastimahapurusagunalankara? is a voluminous book written in apabhraisa and follows closely the Mahapurana of Jinasena-Gunabhadra. As the title shows, the book deals with the life-stories of all the sixty-three great men of Jaina mythology, but the most remarkable thing about the author is that Puspadanta, unlike his predecessors, does not criticise Vyasa : on the other hand, he shows high regards for his reputed literary achievements and his list enumerates the works of Patanjali as well as the Itihasa-Puranas, Bharavi, Bhasa. Vyasa, Kalidasa, Caturmukha, Svayambhu. Harsa, Drona, Bana' and others whose thorough study is unavoidably indispensible for one who 1. Uttara-Purana, 25.115 For other details see A. K. Chatterjee, "The Bharata Tradition in Jaina Literature, in JATH, Vol. VII, p. 159 ff. Jagadish Chandra Jain, Praksta Sahitya Ka Itihasa, p. 412 ff. Critically edited by H. C. Bhayani and published by Bharatiya Vidya Bhavan, Bombay. Ibid , Intro. pp. 7-9. 5. S.D Jha, op. cit., p. 27. 6. P.L. Vaidya (ed). Mahapurana, Intro. pp. XXXI-XXXV. 7. Ed. P.L. Vaidya and pub. by Manikchand Digambara Jainagranthamala, Bombay. 8. Mahapurana of Puspadanta, 1.9.3-5. jaina sAhityAnuzIlana

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wants to become a good poet. This shows that Puspadanta must have been quite conversant with the works of these great authors. "However the sense of spontaneous acknowledgement of Vyasa's importance later gives way to sectarian prejudices against the immortal poet", 1 as Puspadanta, in the introductory part of his version of the Rama-Story, betrays the same reaction as is found in the works of other Jaina authors. Surprisingly all his praise for Vyasa turns into hatred for him and, along with Vyasa, Valmiki also becomes his principal target of attack "for deluding people with their (false) teachings".2 But, all the popular Epic-Puranic pames and epithets of the Brahmanical trio given by Jinasena to the first Jina further shows how greatly he was influenced by the Indian classics in general and the Ramayana in particular. But, silarka, author of the first known Svetamhara Purana: (868 A.D.), entitled Cauppannamaha purisacariya, makes a pleasant departure from his great predecessors in this respect. He does not criticise either Valmiki or Vyasa, and shows high regards for the Mahabharata to which he alludes as the Bharatakatha. While telling his Rama-story, he follows Valmiki more closely than his Jaina predecessors.5 Hemacandra bas in most cases hinged together different tales of the epic-origin to suit the taste of the faithfuls. Some of the epican and Puranic episodes have been interspersed with the purpose of illustrating some points and a few others, mentioned with a view to lending "charm and colour to the contextual description." In the twelfth century Hastimalla wrote four plays such as Vikranta-Kaurava, Subhadra-Maithilikalyana and Anjana-Pavananjaya. The first two are based on the themes from the Mahabharata and the last two on the Ramayana of Vamiki. The parrative and characters as depicted in this work are modelled on the same pattern as in Gunabhadra's Uttara-Purana, and as such need no detailed mention. However, we shall be badly mistaken if we believe that this influence was one-sided. As we know, various faiths developed side by side and derived the sap of life from the same sections of people, who also professed the same cult and creed. It is, therefore, natural to expect these religious faiths exercising mutual influences in the field of religion and ethics. In the present study we have simply tried to discuss mainly those elements which were either unknown to, or neglected or even ridiculed by the compilers of the Jaina canons, but were later incorporated into the corpus of the Jaina Puranic literature "under the pressing. influences of the Brahmanical Epic-Puranic tradition." ke cidarthasya sandaryamapare padasauSThavam / vAcAmalaMkriyAM prAhastadadvayaM nomataM matam / / sAlaMkAramupAruDha-samudabhUta-sauSThavam / anucchiSTaM satAM kAvyaM sarasvatyA mukhAyate / / kitane hI vidvAna artha kI sundaratA ko vANI kA alaMkAra kahate haiM aura kitane hI padoM kI sundaratA ko, kintu hamArA mata hai ki artha aura pada donoM kI sundaratA hI vANI kA alaMkAra hai| sajjana puruSoM kA jo kAvya alaMkAra sahita, zRgArAdi rasoM se yukta, saundarya se ota-prota aura ucchiSThatArahita arthAt maulika hotA hai vaha sarasvatI devI ke mukha ke samAna AcaraNa karatA hai / AcAryajinasena, AdipurANa, parva 1, zloka 65-66 1. S.D. Jha, op cit p. 29. 2. Mahapurana, LXIX. 3.11 : w artaare aufufa ft3 TOUTTT 41119 fa qf63 /" 3. Ed. Amritdak Bhojak and published by Prakst Text-Society, Varanasi. 4. Cauppannamahapurisacariya, p. 111. 5. V.M. Kulkarni, "The Ramayana Version ......... " in ABORI, Vol. XXXVI, pp. 46-53. 6. S.D. Jha, op. cit., p. 13. AcAryaratna zrI dezabhUSaNa jI mahArAja abhinandana grantha .