Vasantavilasa of Balachandra Suri (translation and study)

by R. T. Bhat | 1996 | 56,884 words

This is a study and English Translation of the Vasantavilasa—an historical epic poem written by Balachandra Suri that explores the life and achievements of Vastupala, a minister of the Chaulukya dynasty in 13th century Gujarat. The thesis is organized into three parts, covering the historical context of the Caulukya dynasty, Vastupala's accomplishm...

Part 5 - Literary Circle of Mahamatya Vastupala

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After making a study of the life and works of Vastupala we now come to the known figures of his Literary Circle. From the available biographical data about these persons we shall see how they came in contact with Vastupala and how they entertained him with their poetic compositions, and what way the patron appreciated their work. We shall also see how some of them composed poems to express their admiration for him, and also how some works were written on the particular subjects in response to request from the patron. We shall find, moreover, how those poets and scholars were having contact among

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99 themselves, and how they appreciated, helped and some times rivalled with each other. That these persons really formed a circle, and were not merely casual visitors, will be clearly seen. But here a question might naturally arise about the propriety of describing these writers as forming the 'Literary Circle of Vastupala,' and not of the royal court of the Vaghelas. There is no doubt that these poets and scholars come to the Vaghela court, and some times received gifts from the king, as in the case of Harihara, Nanaka and Arisimha; but it is clear from the evidence, which will be presented here that these writers cared to bestow praise on the Vaghela-kings rarely, which indicates that all of them were dependent upon Vastupala and it was mainly through him that their literary efforts flourished. And hence we are justified in claiming these writers as the literary circle of Vastupala. A study of the activity of this circle throws a flood of light on the cultural life of the times of Vastupala and also it is very important for understanding the literary and scholastic traditions of medieval Gujarat. We shall take these literary figures one by one.

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i) Somesvara 100 yasyaste mukhapankaje sukhamrcam vedah smrtirveda ya- streta sadmani yasya yasya rasana sute ca suktamrtam | rajanah sriyamarjayanti mahatim yatpujaya gurjarah kartu tasya gunastutim jagati kah somesvarasyesvarah | | 78 Somesvera or Somesvaradeva was a close friend of Vastupala and chief among the poets patronized by him. He was hereditory priest of the Caulukya-kings of Gujarat, and wielded great influence at the courts of Anahilavad and Dhavalakka. After eulogizing his ancestors, Somesvara has mentioned a few facts about himself in the Suratotsava Mahakavya. He says how contemporary pocts like Harihara and Subhata appreciated his poetry. BY composing a 79 work full of poetic merits, and a play, within only half of a Yama, he had highly entertained the members of the court of Bhima II 80. After praising his own poetry, and also the poetry and munificence of Vastupala in a number of 81 verses, he closes the canto, which shows that the author and the patron were fast friends before the composition of the Suratotsava Mahakavya, In addition to the Suratotsava, based on the Devimahatmya in the Markamdeyapurana, the poet composed other works. The Kirtikaumudi

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101 Mahakavya is a panegyric of the glorious deeds of Vastupala and is very important for the study of contemporary history and society. He wrote a play- Ullagharaghava, 82 dramatizing the Ramayana story. It was acted in the famous temple at Dvaraka on the Prabodhini Ekadasi. 83 84 In addition to these, Somesvara has composed an anthology of didactic verses called the Karnamrtaprapa. 8ª Ramasataka a hymn to Rama in one hundred verses is also a work of Somesvara, 85, and was once very popular, judging from the number of manuscripts of the poem and of its two commentaries - one by Ekanatha and the other by some unknown author. ☑ 86 From his numerous compositions on various subjects, it appears that Somesvara was a man of liberal outlook. Though he was a devout Saiva and Sakta and an adept in the Vedas, he wrote not only poems and plays praising Rama, but also Prasatis for the Jaina temples. Stray Verses of Somesvara The Prabandhas give a number of references and anecdotes which bear upon Somesvara's relation with Vastupala. Here is are given some important and interesting references. "Once in a rainy season, Vastupala and Somesvara had been to the port of Stambhatirtha. At that time horses imported from some foreign country were being brought down from the ships. Vastupala looked at the horses and

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gave the following Samasya to Somesvara - 102 pravrtkale payorasih katham garjitavarjitah | to which Somesvara gave a swift answer as follows. amtahsuptajagannathanidrabhangabhayadiva | | - and he was promptly rewarded with a gift of sixteen horses. 87 On another occasion members of the literary circle had assembled. Vastupala and Tejapala were also present. A Samasya was given - kakah kim va kramelakah | Somesvara promptly composed a couplet and the seemingly irrelevant words of the Samasya became full of meaning- yenagacchanmamakhyato yenanitasca me patih | prathamah sakhi kah pujyah kakah kim va kramelakah | | Highly pleased at this gift of ready poetry, Vastupala gave present of sixteen thous and Drammas. 88 Somesvara a Once when Somesvara came to Vastupala's court, he was given a seat, which he did not occupy. When asked the reason, he uttered the following verse. annadanaih payahpanairdharmasthanaisca bhutalam | yasasa vastupalena ruddhamakasamandalam ||

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103 -Having heard this Vastupala gave nine thousand Drammas. 89 During one of his Sanghayatras to Satrunjaya, the minister was worshiping the Jaina, when the supplicants ran towards him all at a time. Looking to the crowd Somesvara spoke the following verse .... icchasiddhisamunnate suragane kalpadrumaih sthiyate patale pavamanabhojanajane kastam pranasto balih | niraganagamanmunin surabhayascintamanih kvapyagat tasmadarthikadarthanam visahatam srivastupalah ksitau || The Prabandhas say that for this he received a large some as a gift.90 When Vastupala returned from the campaign in which he defeated Sankha, he was received by Somesvara with the following Sloka- srivastupala pratipaksakala tvaya prapede purusottamattvam | tire'pi varderakrte 'pi matsye duram parajiyata yena sankhah | 91

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104 ii) Harihara mudha madhu mudha sidhu mudha ko'pi sudharasah | asvaditam manohari yadi hariharam vacah | | - Vastupala 92 Harihara appears to be one of the prominent literary figures of the time, as Rajasekhara has devoted one whole Prabandha to him in the Prabandhakosa, and Vastupala also held his poetry in high esteem. According to the Prabandhakosa, Harihara was a descendent of Sriharsa, author of the famous Naisadhiyacarita, 93 one of the most formidable, yet poetic compositions in Sanskrit literature. 94 It was Harihara who had brought the first manuscript of the Naisadha to Gujarat and it was at the initiative of Vastupala that the work got a wide currency in the province, as a result of which the oldest commentaries of the work were written solely in Gujarat.95 III) Yasovira laksmiryatra na vak tatra yatra te vinayi na hi | yasovira mahaccitram sa ca sa ca sa ca tvadhi || 96 Yasovira was a close friend of Vastupala. Somesvara has praised both these friends in a verse by describing them as "two sons of Goddess Sarasvati." »97 Yasovira was a Vanik and professed the Jaina religion, though

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105 nothing is known about his specific caste. The Kirtikaumudi has clearly mentioned him as "the minister of the Cola-King,"98 though it has not given the ruler's name. In the drama Hammiramadamardhana of Jayasimha Suri, Vastupala has been represented as honouring Yasovira as his elder brother. It can be said on the authority of the same work that Yasovira had rendered considerable help to Tejapala in making Vastupala's strategy successful against the Muslim invasion, and that Yasovira's advice was sought by Tejapala on all important matters at that time, as Marvad and Mevad were the places of action. 100 From his verses quoted in the Prabandhas it seems that Yasovira was a Sanskrit-poet not devoid of merits. This is further corroborated by the fact that the Kirtikaumudi has compared him with poets like Kalidasa, Magha and Abhinanda.99 But no work of Yasovira has come down to us. B.J.Sandesara opines about Yasovira that: "Being a man in an eminent position, he was also a patron of literature. In a palm leaf manuscript of a Sanskrit anthology of verses presented in the Samghavi-Pada-Bhandara at Pattan, I saw several verses in praise of minister Yasovira in the section called Sajjanaprasamsa or the praise of the good. As the manuscript is fragmentary, we do not know either the date of composition or of copying or the name of the anthology or of the compiler. But this is enough to show how Yasovira was held in high esteem by some poets. Jayasimha Suri, grand pupil of Vadideva Suri and author of the Prasasti of Cacigedeva on the Sundha hills in Rajastan, had

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106 uttered the following verse, when Yasovira installed the image of Mahavira in a temple called the Candana Vasati built by him at Jhalor yattayoparjitam vittam yasovira pratisthaya | tallaksagunitam nitam yaso virapratisthaya | The rhetorician Manikyacandra, author of a commentary Samketa on the Kavja prakasa thus praised Yasovira on an occasion : yasovira likhatyakhyam yavaccandre vidhistava na mati bhuvane tavadadyamapyaksaradvayam || iv) Subhata subhatena padanyasah sah ko'pi samiti krtah | yenadhunapi dhiranam romanco napiciyate | | -- Somesvara, 101 Nothing is known about the personal history of Subhata, but his connection with the Literary Circle of Vastupala is attested by the fact that Somesvara has praised his poetry along with that of other poets of the Circle like Naracadra, Vijaysona, Harihara and Yasovira; and the Surtotsava informs us how Subhata and Harihara appreciated the poetry of Somesvara. 102 Only one act play of Subhata, the Dutangada, which is called a Chayanataka by the author, has come down to us. As is mentioned in the prologue, it was acted in

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1 107 Anahilavada, by the order of King Tribhuvanapala on the occasion of a festival in honour of the late King Kumarapala. 103 But when we take into consideration the title of Kavipravara or 'the chief among the poets' bestowed upon Subhata by Somesvara, it appears that he might have written some greater works worthy enough to justify that title. Subhata has also described himself in the prologue as proficient in logic. 104 v) Arisimha yatkavelavanasimhajanmah kavyametadamrtodadirghika vastupalanavakirtikanyaya dhanyaya kimapi yatra khelitam || -- Amaracandra Suri. 105 Thakkura Arisimha was the son of Lavanasimha. 106 He was a favourite of Vastupala, and had received from him land and other gifts, just like Somesvara, the author of the Kirtikaumudi. 107 According to the Prabandhakosa , he was a follower of Jinadatta Suri of the Vayada Gaccha, and as such he may be considered a Jain. Though Arisimha was a layman, he was a Kulaguru or preceptor in fine arts of the famous poet and rhetorician Amaracandra. 108 Amaracandra held Arisimha and his poetry in high esteem, as is clear from his works, and both the literary men, one a layman and another a monk, worked in close collaboration.

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108 and Poetic fame of Arisimha had spread outside Gujarat and a number of his verses have been included in the anthologies like the Suktimuktavali 109 the Sarngdharapadhhati. 110 The Upadesatarangini has quoted a verse of Arisimha in praise of Vastupala, for which, according to their work, the former was awarded the sum of two thousand. 111 But most remarkable specimen of the poetic activity of Arisimha is his Mahakavya Sukrtasmkirtana written in praise of his patron Vastupala for commemorating his good deeds. Five verses at the end of each Canto of this Mahakarya are the compositions not of Arisimha, but of Amaracandra. It is stated in this work which Arisimha composed, that Amarcandra wrote these five verses Canto by Canto. 112 No work of Arisimha, other than Sukrtasankirtana is extant. The present work is another historical Mahakarya, which also has for its theme the life and works of Vastupala. As its name suggests, it has been composed for commemorating the good deeds of Vastupala. Just as the Kirtikaumudi puts comparatively more emphasis on the political side of Vastupala's life, the Sukrtasankirtana gives more space to his religious and public works. Thus the two poems supplement each other, and it is quite possible that they were written with the same end in view. The Sukrtasankirtana has eleven cantos and 553 verses in all.

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vi) Amaracandra Suri 109 brahmajnapravaro mahavratadharo venikrpano 'marah | Nayacandra Suri. 113 Amaracandra Suri is one of the remarkable names in the history of 115 medieaval Sanskrit literature. He is best known as the author of the Balabharata, 114 and the Kavyakalpalata. His Balabharata is a sort of epitome, in its subject-matter, of the famous Mahabharata, as its very name suggests. Like its prototype, Balabharata is divided into 18 Parvans, each of which sub- divided into one or more cantos, the sum total being forty-four, including the last canto which gives the Prasasti. The Granthagra of the whole work, as given in the last verse of the last canto is 6950 Slokas. The Kavyakalpalata is in the form of Karikas, the number of Karikas as printed in the edition of the Kasi Sanskrit Series being 798. The Padmananda Mahakavya is another work of Amaracandra, which has for its subject the mythical account of the first Jaina Tirthankara Adinatha. It is divided into nineteen cantos, and its Granthagra is 6281 Slokas. Some verses ascribed to Amaracandra are preserved in the Prabandhas. Once Vastupala was going to attend the sermon of Amaracandra. But while at the door of the hall, he heard the Acarya uttering the following line

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110 asminnasare samsare saram sarangalocana | and Vastupala, thinking that the Acaryas mind was full with thoughts about women, did not salute him. Then the Acarya recited the second foot of the verse yatkuksiprabhava ete vastupala bhavadrsah | And being astonised, Vastupala saluted him with honour. 117 f vii) Vijayasena Suri munervijayasenasya sudhamadhuraya gira | bharatimanjumanjirasvaro'pi parusikrtah || Somesvara, 118 Vijayasena Suri was the Acarya of the Nagendragachha, and Vastupala's preceptor on the maternal side, and as such, the installation ceremony of the images in the temples built by Vastupala was performed at his hands. It was the advice and instruction of Vijayasena which inspired the building of temples, establishment of Bhandaras and the undertaking of Sanghayatras by Vastupala and Tejapala, 119

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111 Vijayasena's relation with the family of Vastupala was naturally very cordial, being a Kulaguru or family-preceptor. It was at the instance of Vijayasena that Vastupala had gone to salute Jagaccandra Suri (father of Vijayasena) of the Vrddha Tapagachha, 120 and had honoured him and his pupils. Vijayasena was a scholar. Pradyumna Suri, the author of the Samaraditya-Samksepa, was taught Nyaya by him, 121 and had also received the Vivekamanjari Tika of Balacandra. 122 No other Sanskrit composition of Vijayasena has been found as yet, but judging from the way in which his poetic faculty has been referred to by contemporary authors, it is probable that he may have composed some Sanskrit poetic works worthy of note. We have an Apabhramsa work, the Revantagiri Rasa, from his pen. It was 123 composed on the occasion of one of Vastupala's pilgrimages to Girnar. viii) Udayaprabha Suri gurostasyasisam patram surirastyudayaprabhah | mauktikaniva suktani bhanti yatpratibhambudheh | | - Somesvara. 124 Udayaprabha Suri was the chief pupil of Vijayasena Suri. It appears that he was considerably junior in age to Vastupala, as Vastupala had invited well-known scholars from long distance for teaching various Sastras to

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112 Udayaprabha 125 Vastupala also organised the function to install Udayaprabha as an Acarya at a large expense. 126 The main literary work of Udayaprabha is his Dharmabhyudaya Mahakavja, which was probably composed on the occasion of Vastupala's great pilgrimage in 1221 A.D. It must have been composed before 1233 A.S., because a manuscript of the work bearing the date, in Vastupala's own hand-writing, has been preserved. Among other works of Udayaprabha there are two panegyrics called the Sukrtakirtikallolini and Vastupalastuti, glorifying the good deeds of Vastupala and Tejapala. ix) Jinabhadra Jinabhadra was a pupil of Udayaprabha Suri. No more information is available about him; but this much we know that he had composed in 1234 A.D.Prabandhavali or a collection of historical and legendary anecdotes, which contained a number of stories, regarding Jaitrasimha, Vastupala's son,

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x) Naracandra Suri kavindrasca munindrasca naracandro jayatyasau | prasastiryasya kavyesu samkranta hrdayadiva | | Somesvara, 127 113 Naracandra Suri was a pupil of Devaprabha Suri128 of the Maladhara Gachha. He was the preceptor of Vastupala on the maternal side,and was in 129 close contact with Vijayasena Suri and his pupils Vastupala held him in high honour, and he had taught Vastupala the three Vidyas i.e Nyaya, Vyakarana, and Sakirya, and also the Jaina works - Sadavasyaka and Karmaprakrtj 131) Naracandra Suri was a great scholar, and was highly proficient atleast in four Sastras viz, Nyaya,Vyakarana,Sahitya and Jyotis. In Nyaya he has written a scholarly Tippani on the Nyayakandali of Sridhara, in Vyakarana the Prakrtaprabandha a treatise on the Prakrit grammar, in Sahitya a Tippari on the Anargharaghava of Murari, and in Jyoris, the Jyorissara. 131

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xi) Narendraprabha Suri 114 tasya guroh priyasisyah prabhurnarendraprabhah prabhavadhyah | yo'lamkaramahodadhimakarot kakutsthakelim ca || Rajasekhara Suri 132 "Once Vastupala, folding his hands with devotion, thus requested Naracandra Suri - 'some works on Alankara are difficult to grasp, because they are lengthy, while some are not suffciently clear, as they are too short. Some other books contain much that is irrelevant and can be understood with difficultly. My mind is tired of listening to such works, which give not judgment regarding the real nature of poetic art.So please expound to me a Sastra, which is not too long, which contains the essence of the poetic art and can be understood even by the less intelligent." Hearing this, the Acarya suggested to his pupil Narendraprabha Suri to write such a work, and the latter composed the Alamkaramahodadhi, the Karikas and the Vrtti thereon - for the delectation of Vastupala. 133 He also wrote two collections of verses on religious topics- Vivekpadapa and the Vivekakalika from which we know that his pen-name was -> 'Vibudhacandra Kavi'. 134

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1 xii) Balacandra Suri 115 bahuprabandhakartuh sribalacandrasya ka stutih | mantrisavastupalena yah stutah kavitagunat | | Pradyumna Suri. 135 Balacandra was a pupil of Haribhandra Suri of the Candra Gachha. He has given at length the genealogy of his teachers in the Prasastis of his Commentaries on the Upedashakandali and Vivekamanjari of Asada. 136 The Prabadhas mention that once young Balacandra praised Vastupala with a verse comparing him with God Siva in every respect; and Vastupala , being pleased with it, spent several thousand Drammas in the ceremony for installing Balacandra as an Acarya. The main work of Balacandra is his Vasantavilasa, depicting the life of Vasantapala, a name given to Vastupala by his poet friends. Karunavajrayudha is one act play of Balacandra, dipicting the story of king Vajrayudha. Two other works of Balacandra are his commentaries on the Vivekamanjori and the Upadesakandali of Asada.

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116 xiii) Jayasimha Suri Jayasimha Suri was a pupil of Virasuri and head of the Muni Suvrata Caitya. He is the author of the play Hammiramadamardana, dramatizing Vastupala's strategy in repulsing a Muslim attack on Gujarat. The play was acted at Stambhatirtha at the instance of Jaitrasimha, Vastupala's son, then the governor of that city. Another composition of Jayasimha Suri is a panegyric in seventy-seven verses called the Vastupala-Tejapala Prasasti 137 xiv) Manikyacandra Munikyacandra was a Jaina ascetic of the Raja Gachha, and a pupil of Sagaracandra Suri. He is the author of the famous Samketa, one of the oldest and most authoritative commentaries on the Kavyaprakasa of Mammata. He also composed two Mahakavyas-Santinathacaritra and Parsvanathacaritra. 138 In addition to the poets and scholars mentioned above, there were a number of others comparatively of minor importance, who came in touch with Vastupala according to the Prabandhas. But they are not mentioned here because no work is identified to the credit of any of them.

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