Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati Prof. R. Thiagarajan Presidency College, Chennai. Prof. R. Thiagarajan Presidency College, Chennai. Prof. N. Veezhinathan University of Madras, Chennai 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Types of Literature –Kavyas (Poetry-2) Module Id I C / IAFA / 11 Pre requisites Knowledge in Ancient Indian Literature and Poetry To know the Kavyas of Bharavi, Magha, SriHarsha, Objectives To Know the Kavyas of Bhatti, Pravarasena, To know about the works of Kumaradasa , Kshemendra, To know about the Kavyas of Mankha, Nilakanta Dikshita, Vedanta Desika Keywords Kavya / Bharavi / Magha / Nilakanta Dikshita / Vedanta Desika E-Text (Quadrant-1) Kiratarjuniyam of Bharavi An important Mahakavya is Bharavi's Kiratarajuniya. As his name is mentioned in the Aihole inscription of 634 AD., he has been placed during the close of 6th century AD. He was the court poet of King Durvinita who ruled upto 580 AD. In his court he wrote his only poem 'Kiratarjuniyam. The poem in 18 cantos describes Arjuna's career described in the Vana parva of Mahabharata. It deals with the fight between Arjuna and Siva. On the advice of Vyasa to seek celestial arms by penance Arjuna does severe penance in Himalayas. Arjuna's severe austerities frighten the gods and on whose appeal Lord Siva comes to meet him as a Kirata (hunter) and a mighty bore which came to attack Arjuna was slain. Both Arjuna and the disguised Lord Siva claim the merit of having slain the animal and a quarrel is picked up and the fight ensues. Then after a fight, Siva reveals his true form and grants the devotee the desired weapon 'Pasupatastra'. Bharavi's description has great power and vigour. His style has a calm dignity which is certainly attractive. He is very clever in bringing out the heroic sentiments. He introduces a number of maxims - Arthantaranyasa. His poetic fancy and force of diction makes him a poetic genius. Bharavi has graphic descriptions elaborate discussion on state craft and politics and a vigourous style quite appropriate for the sentiment of Vira. There are also great defects in his writings. He sets a bad example in his fondness for showing his skill in grammar. In canto 15 there are some slokas which give one meaning when read forward as usual and other sense when read backward. Generally Bharavi is praised for his Arthagaurava or deep thought. On account of the beauty of a particular verse, (Canto V.39) the poet became known as “Chatra Bharavi”. Mallinatha the commentator describes Bharavi’s language as “Narikelapaka” Magha' s Sisupalavadha After Kalidasa and Bharavi, Maghabhatta occupies the next important place. As he has made a reference to the drama Naganandam of Sriharsa of 7th century AD., in his Sisupalavadha, he is generally assigned to 7th century AD. 2 Taking the well known episode from the Mahabharata epic. Magha has written his only work Sisupalavadha, in 20 cantos. Dharmaputra perfoms a sacrifice called Rajasuya yaga after his victory over demon Jarasandha. The first offering of Honour which must be shown to great person in the assembly, is shown to Sri Krishna by the advice of Bhisma and other elders. Sisupala, a foe of Krishna, protests against the procedure and rebukes both Krishna and Bhisma. A fight starts between Krishna and Sisupala, in which Krishna slays Sisupala Though there are few changes when compared to the epic Mahabharata, it has been considered that Sisupalavadha is a work of great poetical merit. From Magha's Sisupalavadha it is clear that he wrote his poem immediately after Bharavi. Traditionally Magha has been admired for the combination in his work, the similes of Kalidasa the deep thought of Bharavi and delicacy of expression of Dandin. There is a saying “Maghey Meghey gatam vayah”- life is lost in enjoying Sisupalavadha and Megha sandesa. Sri Harsha's Naishadham The next important Mahakavya is Naishadham of Sri Harsha. This work is included in the Pancha Mahakavyas (Five great epic poems). The other four are Raghuvams and Kumarasambhava,of Kalidasa, Kiratarjuniya of Bharavi, and Magha’s Sisupalavadha. The great Mallinatha has commented on all these Panchamahakavyas. This Harsha is different from the King and dramatist Harsha, of 7th century AD., the patron of the great prose writer Bana. Harsha was patronised by King Vijayachandra of Kanauj in the later half of 12th century AD. With the aid of Chintamani mantra so kindly communicated to him by a venerable sage, Harsha attained proficiency in all branches of learning. He was received with distinction by King Vijayachandra. In his court, he wrote his Naishadhiya carita. In 22 cantos he describes the story of king Nala of Nishadha country, his love for the princess of Vidharbha, Damayanti, his love message through swan, the intervention of the Dikpalas, the marriage after Svayamvara etc. At the end of each canto the poet makes reference to his works and parentage. The story has been taken from the Mahabharata epic. The original story found in the epic is simple and in beautiful style. But the style in Naishadha is very tough requiring the help of a commentary to understand the meaning. So he has been considered as a most difficult writer. Though his style is much tough, his imagination, power of observation and description of nature are decidedly of very high order. There is a saying “Naishadham vidvad aushadham”- Naishadha is a medicine for Scholars. Pravarasena’s Sethubandha Bana and Dandin of 7 century AD. have paid glowing tributes to Pravarasena in their respective works. So he is assigned to 6 century AD. His Mahakavya Setubandha or Building of the bridge is written in Maharastric Prakrt. It describes the bridge built by the monkeys in the epic Ramayana. This is also called Setu kavya or Ravanavadha. Bhatti kavya Bhatti kavya or Ravanavadha, describing the story of Ramayana in 22 cantos, is the Mahakavya written by Bhatti. As the poet himself says that he was a contemporary of king Sridharasena of 6th cent AD., he is assigned to 7th century A.D. Bhatti's poem is more a manual of grammar than a poem with artistic value. The aim of the poet is to illustrate the various rules of Sanskrit grammar, besides aesthetic. The poet says that his work is a light to those whose eyes are grammar and without grammar it is a mirror in the hand of a blind. It 3 illustrates the figures of speech as well. In canto Ten there are illustrations of Alankaras. The thirteenth canto of the poem is written in such a way that the verses can be read as Sanskrit and Prakrit. There are fourteen commentaries on Bhattikavyam. Kumaradasa’s Janakiharana Kumaradasa is a supposed king of Ceylon who has left a poem called Janakiharana. As the title suggests, it deals with the story of Ramayana. Taking the source from the great epic Ramayana, Kumaradasa of 7th century AD. wrote his Janakiharana in about 20 cantos. The free use of certain grammatical forms in the book shows that the author is conversant with the grammatical work Kasikavritti of 650 A.D. So there is no contradiction in fixing his date as 7th century. The story described here differs from Ramayana in very few details. His style is simple. He tried to reproduce the style of Kalidasa. But for his love of abundant alliteration In the 17th and 16th cantos, he can be said to have completely succeeded in his imitation of Kalidasa. The style, the poetic embellishments and other artistic qualities of this poem have won for Kumaradasa an eulogy from Rajasekhara as an adept in relating the story of Rama, next only to Kalidasa. Hariscandra‘s Dharmasarmabhyudaya This poet belongs to the cult of Digambara Jain. He bore the title Sarasvatiputra. He is mentioned by Rajasekhara in his Karpuramanjari.He wrote his Mahakavya Dharmasarmabhyudaya in 21 cantos describing the life of the Jain saint Dharmanatha, the fifteenth Tirthankara from his birth to nirvana. His verse is full of melody and his expression noted for its lucidity. He is the author of Jivandhara Caritam also. He belongs to 9 century AD. Ratnakara’s Haravijaya He is a court poet of King Avantivarman of Kashmir. He is more often referred to as Rajanaka Ratnakara Vagisvara. Haravijaya is the Mahakavya written by him. It describes in 48 cantos, the story of killing the demon Antaka, Siva's own son, by Siva himself. The poem has very little artistic value; This is the biggest Mahakavya in Sanskrit literature. Vasudeva ‘s Nalodaya Describing the story of Nala found in the Nalophakhyana of Mahabharata, Vasudeva wrote his Nalodaya or Rise of Nala, in 4 cantos, Long compounds, difficult metres and frequent use of alliterations in this poem, speak of the poet's lack of aesthetic sense. In his Yuthisthira Vijaya, another Mahakavya, he describes the story of Yudhisthira till his victory in the Great War. Kavyas of Ksemendra He is a court poet of the 11 th century king' Ananta of Kashmir. He was the student of the great alamkarika, Abhinavagupta, He has successfully abridged the story of Ramayana, Mahabharata and Dasavatara in his Ramayana manjari, Mahabharata manjari and Dasavatara manjari. He has also abridged Gunadhya's Brhatkatha in his Brhatkathamanjari. These are long poems written in a simple style and do not possess much artistic beauty, but they reveal the skill of the poet in condensing the grate epics and his mastery over the contents of Itihasas and puranas. Hence he secured the title Vyasadasa. Kshemendra is the author of many minor works on various topics including alankara Sastra.