Chapter 1 - Introduction and Summary

The aim of this work is to draw upon the fullness and grandeur of the epic poem Vasantavilasa. An attempt to analyse the writings of Balacandra Suri carefully and systematically, shows that these writings are rich in historical accounts of MahamaryaVastupala,Prime-minister of Caulukya's of Gujarat in thirteenth century A.D. There is, dearth of research papers for any translation or commentary is available on the present Kavya. Single and systematic study of the Vasantavilasa in its literary and historical perspectives, has, to my knowledge, not yet been undertaken. With this in view, I have taken up in this thesis a comprehensive study of the Vasansavilasamahakavya with a special reference to the Hero Vastupala and his achievements. Present thesis is divided into Three Parts. In the first part of the chapter two devoted to the history of Caulukya's up to Vastupala. Chapter three is devoted to the historical account of Vastupala and his achievements. The Vasantavilasamahakavya contains 14 Cantos. It deals with good-deeds of Vastupala, the well known Minister of Viradhavala of Dholka, from the time of his Ministry up to his death. From the Kavya itself we come to know that it was composed for the pleasure of Jaitrasimha, son of Vastupala (1.53).

2 The present Kavya belongs to that category of historical poems which contain much descriptive matter about the history of the hero whom they glorify. The writer of this work was a contemporary of the Minister Vastupala, and so that he was given the history of his career, especially the later one. Life,Date and Works of Balacandra Suri: The author of the kavya is Balacandra Suri, the pupil of Haribhadra Suri of the Candragaccha (1.75). The I Canto gives a detailed account of his life. There lived a famous Brahamana Dharadeva with his wife named Vidyut in the town of Modheraka (1.42,47,51). The Brahamapa gave shelter and protection to all the distressed beings that came there. He was also well versed in the doctrines of Jainism. All the mendicants that came there returned with their hands full. Dharadeva and Vidyut had a son named Munjala (1.52), to whom the world was an illusion. He received enlightenment form his preceptor, Haribhadra Suri and became a Jain mendicant with the permission of his parents (1.53). At the time of the death Haribhadra Suri put him in his place and named in Balacandra Suri (1.54-55). he Date With regard to the date of the composition of the Mahakavye, no specific mention is made by the poet. But from the mention of the date of the death of Vastupala which is placed in V.S. 1296, we can say that the work must have been composed after his death. More over it is said here that the present

1 3 Kavya was written for the pleasure of Jaitrasimha, Vastupala's son. This shows that the date of the work falls in the period when Vastupal's son came into power. Thus the upper limit of the date of composition can be fixed about the end of the Thirteenth or the beginning of the Fourteenth Century A.D. Works Besides the present work, Balacandra Suri his said to have a written a drama in five acts named Karunavajrayudha, and commentaries on Vivekamanjari and Upadesakandali. Part 11 of the Thesis is Vasantavilasamahakavya-its contents'. Here is given a much preference to the translation of the Fourteen Cantos of the Vasantavilasa, because no translation is up till now available on this poem. Brief story of the Kavya is as follows. FIRST CANTO The Karya opens with an invocation addressed to Goddess Sarasvati. It is followed by an elaborate description on the nectar of poetry which is regarded as the best means of attaining spiritual prosperity. The poet, further, while giving his personal history, describes how the Goddess Sarasvati appears to him in his sleep, and tells him that he is her actual son. He, then, mentions the qualities possessed by Vastupala which make him the Hero of the Karya.

SECOND CANTO 4 It begins with a charming description of the city of Anahilapura Pattana. It possesses beautiful temples endowed with gold-knobs. The huge and the lofty buildings of the city look like palaces. Their walls and floors are studded with gems. The city's fort, ditch and the Durlabharaja tank add glowing beauty to it. What more! its splendour surpasses the beauties of Bhogavati and Amaravati. THIRD CANTO In the days of yore, there springs forth a brave warrior from the hollowed palm of Brahma, known as Caulukya who is regarded as the first progenitor of the Caulukya dynasty. From this very being descends Mularaja who acquires world fame. This king is said to have visited the temple of Somanatha every Monday. He, in his tum, succeeded by his son Camundaraja, who is next succeeded by Valabharaja. He acquires for himself the title of Jagajjhampana. He is followed by Durlabharaja of undiminishing fame. After him, the throne of Anahilapura is occupied by Bhima, terrific like Bhima. He inflicts a crushing defeat upon the king Bhoja of Avanti. Bhima is succeeded by his son Kamna, serving the purpose of ear ornament of the prosperity of Gujarat. He is described as an extraordinarily handsome figure. His successor Jayasimhadeva, having conquered Ujjayini, brings Yoginipitha to his own capital. Moreover, he kills Barbara.

5 01 After the death of Jayasimha, Kumarapala ascends the throne. He is a very just King. He undertakes repairs in the temple of Somanatha. He builds a number of Viharas for religious purposes. In the battle- field, he defeats the kings of Jangala and Konkana. He also defeats Ballala. The next king to mount the throne is Ajayapala who brings under subjugation the ruler of Jangala. His son and successor, Mularaja, though yet a child, scatters the army of the Mlecchas. Mularaja is followed by Bhimadeva. As he is a child, the tributary princess begin to divide and usurp his kingdom. Seeing this, Arnoraja comes for help, but the Mandalikas object to his interruption. But he, with his might, suppresses all the usurpers and assumes the position for himself. He is succeeded by his son Lavanaprasada, who brings under subjugation the kings of Gauda, Kerala, Lata, Malava, Radha, Huna, Andras, kanci, Konkana, Jangala, Pandya, Kuntala, Vanga and Kalinga. His son Viradhavala is a mighty warrior of great luster. One night, the guardian deity of the country appears before Viradhavala in dream, and informs him about Vastupala and Tejapala, the two sons of Asvaraja and Kumaradevi. She asks him to appoint them his ministers and put the burden of administration on their shoulders. Next day, Viradhavala sends for them, when the two brothers arrive at the court the King explains to them his desires of enstusting the work of administration to them. He praises their honesty and ability. Vastupala expresses his great joy at the words of the master but informs him that it is the age of Kali when neither the master nor

the dependent is sincere. So if the King promises to be just and controls his passions and does not give ear to the advice of the wicked, he is ready to accept the duty. With this, the King is highly placed and puts in to his hand the minister's golden seal. FOURTH CANTO 6 It deals with the prays of the abilities of the two ministers, Vastupala and Tejapala. Both are experts in polity, and equal Indra and Upendra. Their mutual love is compared with that of Rama and Laksmana, and the polity with that of Guru and Sukra. Both are lusters like Moon and the Sun. They hold the climax of justice, and devotion to religion. Vastupala is appointed the governor of Stambhatirtha, which is formerly enjoyed by the king of Lata. FIFTH CANTO The minister Vastupala takes a charge of his duties and goes to Stambhatirtha. he sets right many of the wrongs committed by previous officers. He establishes justice and happiness in the kingdom. He respects the followers of all the religions so that every one things that the minister belongs to his own religion. Being found of poetry he pays large amounts to poets as gifts. During this period Viradhavala is engaged in battle with the kings of marwara, who are fighting with King Lunasaka. At this very time, Sankha, the

7 King of Broach, marches with a large army to recover Stambhatirtha which originally belongs to Broach. Sankha sends an emissary to Vastupala demanding complete submission by the latter, or accept the challenge. Then Vastupala comes forth with a great army. Sankha seeing this fresh force of the enemy,flees from the field. Thus Vastupala, obtaining decisive victory over the enemy, returns to Stambhatirtha amidst all rejoicings. SIXTH, SEVENTH AND EIGHTH CANTOS These contain the conventional poetical description of the seasons sports and pleasure, and the rise of Moon and the Sun. NINTH CANTO Here is described in detail a dream of Vastupala. God Dharma, having one foot, appears to him a dream and tells that formerly in Krta- age he had four legs, three legs in treta, two in doapara and now in kali only one leg is left. Mularaja and Siddharaja used to spread dharma by taking pilgrimages to Somesvara. Siddharaja is believed to have made pilgrimage to Satrunjaya about twelve times. His mother mayanalladevi got abolished the tax on pilgrims to Somesvara. Kumarapala also made pilgrimages to Girnar and Satrunjaya mountains and got repaired the old temples of Kedara and Somesvara built by Mularaja at Mandalipattana. he also erected many new temples. Further, God

00 8 Dharma laments over the state of affairs which has become unfavourable. He bids him to promote religion and fulfill his wishes. The canto ends with the awakening of the minister Vastupala with the sound of the morning drums and eulogies sung by the bards. TENTH CANTO to go It contains a description of Vastupala's pilgrimage. Vastupala, acting upon the advice of the preceptor and with the permission of the king, resolves for pilgrimage. He entrust the burden of the state to Tejapala, and sets out on the pilgrimage. Four feudatory chiefs and Sangapatis from Lata, Gauda, Maru, Kaccha, Dahala, Avanti and Vanga accompany him. He honours them with various presents, and provides all comforts to the pilgrims. He visits the temples that come on the way, and gets prepared the old once. ELEVENTH CANTO From the Satrunjaya Mountain, the Sangha turns to Prabhaspattana. There, Vastupala worships at the temple of Somanatha, bathes in the Sarasvati river at Priyamelatirtha. He distributes Gold and Jewels in charity. At this place, he worships Candraprabha.

1 TWELFTH CANTO Further, the Sangha marches to Raivata Mountain. At the foot of the mountain, he visits the Tejapalapura at the tank called Kumarasarh, founded by Tejapala. He then, worships Adinatha. THIRTEENTH CANTO The Sangha then ascends the mountain, and worships Nemenatha. Further, the Sangha ascends the Ambika, Alokana and Samba peaks. Vastupala arranges a dinner for his pilgrims friends, Brahamanas, the Yatis, and the religious preceptors and presents them clothes etc. FOURTEENTH CANTO Here is given a detailed account of the religious places, temples, resting houses for Yatis, dwelling places for the Brahamans and tanks erected and sunk by Vastupala in different cities and towns etc. In the course of time, Vastupala becomes very famous for his pious activities and his glories are sung in the heaven also. When he attained old age, he is informed by a messenger of Dharma that Sadagati, the daughter of Dharama, desired to marry him. Vastupala thus gets absorbed in her thoughts and consequently falls ill. He resolves to go to Satrunjaya Mountain to marry her. This is informed to Dharama by Ayurbandha, a servant of Dharma. Dharma, as a result fixes the time for CO

10 marriage and sends Sadbodha to inform Vastupala about the same. Vastupala calls his son Jaitrasimha, his wife and his brother Tejapala and gives them instructions and advice. After taking permission of the king, he starts for Satrunjaya Mountain. He climbs the hill on the day of marriage, i.c., the fifth day of Magha, in Samvat 1296. On this day, the temple of Adinatha is beautiful decorated. Dharma gives his daughter to Vastupala and takes him to heaven, where he receives a warm welcome by the Lord of Heaven. Part III of the thesis contains a 'Critical Estimate of the Poet and the Poem'. First chapter is dealt with 'Sabdalankaras in Vasanta vilasmahakavya'. Balacandra Suri uses Yamakalankara and its many varities throughout his Mahakavya. For this, here is taken a detailed examination of 'Balacandra Suri Master of Yamakalankara', for the study in the second chapter of the part III. a Chapter three contains 'Arthalankaras in Vasantavilasmahakavya'. Following are the some examples of Arthalankaras used in the poem : Anuprasa - 1.1,4,15; VI.2 Yamaka - 1.46,47,; IV. 26; V.107;VI. 13, 14, 16, 20,68-70. Utpreksa- II.22,28,29; VII. 5; VIII. 1; IX.3 Rupaka - 1.25;V.37 Hetuman- 1.24 Bhrantiman - V.81;VII.56,58;IX.48. Artanataranyasa - VII.42,43. Karanamala - III.61. Slesa - V 1.67-71; XI.72; XII.13-20,28,46.

11 The last chapter of the thesis, 'Critical Appreciation of the Poet and the Poem³ briefly as follows: The Vasantavilasa consists of fourteen proportionate cantos. Unlike other Mahakavya's the hero of the Kavya is not a king, but the king's minister, Vastupala. The predominant sentiment of the Kavya is Santa since it is a historical Kavya, the sentiment of Vira (heroism) too, finds a place in it, it is to be met with mainly in the fifth canto where we have the description of battle (V.73 ff). The sentiment of Sragara is to be seen in the various descriptions of seasons, sports and pleasures (cantos VI & VII). The theme of the Kavya is based on the Caulukya kings of Gujarat. Vastupala the hero of the Kavya himself was the minister of Viradhavala of Dholka. The Kavya relates the good deeds of Vastupala. It beings with a benediction addressed to goddess Saraswati. It being a historical Kavya, we come across lengthy descriptions common in the Mahakavyas. The second canto preserves beautiful description of Anahilapura with its gold-knobbed temples (11.4). Its palace-like building its fort, its ditch and Dhurlabharaja tank (II.46-9). The awe-inspiring battle scenes and marches of the armies (V.70 ff) are also described. The description of the Satrunjaya and Girnar mountains is to be met with in the tenth, eleventh and twelfth cantos. The descriptions of the six seasons with their seasoned flowers blooming and breezes blowing is also

12 very enchanting (Canto VI). Beautiful scenes of Moon-rise and Sun-rise are preserved in eighth and ninth cantos. Accounts of the sports in pleasure gardens and waters (canto VII) are also to be met with in the Kavya. It also contains the descriptions regarding the orgies of drinking. The third canto is noticeable for the political descriptions. Every canto of the Kavya is named after its subject-matter. The first canto contains an introduction and is appropriately called Prastavana. The second canto gives the description of the capital and is named Rajadhanivarnana, and so on.