Part 4 - Critical appreciation of the Poet and the Poem

The Vasantavilasa consists of fourteen proportionate cantos. Unlike other Makakavya's the hero of the Kavya is not a king, but the king's minister, Vastupala. The predominent 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 comman in the Mahakavyas. The second canto preserves beafutiful discription 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

309 twelfth cantos. The descriptions of the six seasons with their seasoned flowers blooming and breezes blowing is also 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 gardans and waters (cantto 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 poltical descriptions. Every canto of the Kavga 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 Rajadhanivargana, and so on. POET'S LEARNING: The author appears to be a very learned man as is shown by his references to Samkhya, Nyaya, Vasisesika, Yoga, Jaminiya and Jainism and Buddhism (1.2-3; IX.32). Whenever he wants to show the exalted nature of his characters he invariably turns to the Ramayana, the Mahabharata and the Purana's to show the high and noble nature of his character, specially of the hero, Vastupala ( IV.31-37,39).

310 STYLE: The style of the Kavya is a blend of Vaidarbhi and Gaudi, it is Vaidarbhi generally but is Puns and rhymes it is Gaudi. Balacandra Suri gives a beautiful description of the top floors of houses at night : yatranuratra kila niskanankah sucarucandaropalacandrasalah | pratisphalaccandrakalanka bhitibhrto rudantiva galajjaliyaih | | (II.28) Where, every night, the faultless top floors (Studded with moon-stones) appear to be weeping with the waters flowing from the moon-stones, as if being afraid of the fall of the spot of the Moon. His descriptions, though generally long and elaborate, are charming and full of vivid images. Description of Sarasvati appearing in the First Canto (1.58-70); description of Anahilavada (II), which a fine blending of the actual with the imaginative; short but striking description of the port of Stambhatirtha (III.17-23); realistic description of the battle with Sankha, which refers to the actual historical participants in the combat (V) - can be cited as some of the illustrations.

FIGURES OF SPEECH The figures used are: Anuprasa - I.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 - 111.61. Slesa - VI.67-51; XI.52; XII.13-20,28,46. METRES 311 CANTO NO METRES CANTO NO METRES I. Upajati VIII II. Pramitaksara IX III. Upajati IV. Anustup XI Rathoddhata Upajati Rathoddhata Upendravajra V Svagata XII Puspitagra VI. Drutavilambita XIII Vamsastha VII. Upendravajra XIV Saradulavikridita

Vasanttilaka - III. 79-81; V.104;VI.72;VII.69;IX.52. Malini III.82;V.105; Praharsini- V.103 Mandakranta- IX.35, Sragdhara - IX.60;XII.47;XIV.Sukrita-sankirtana of Arisimha Every time the use of the metres suits the occasions. SOCIETY AND CULTURE 312 Caste Vasantavilasa throws very scanty light on the society and culture of the period. The notable point is that hospitality to guests was shown (X.25). Brahmanas received charities and gifts. Vastupala is said to have given gold and jewels equal to his weight to the Brahmanas. Dress, Ornaments and Cosmetics As usual women are said to have been very found of ornaments. They put on Nupura (11.22; V 11.4) Ratnakankana (VI 1.3;VII 1.64) and Manisrak (VIII.68), Srikhanda (V.67) was besmeared on the bodies. Architectural Style

313 The existence of palatial buildings, houses and public places show that a highly developed architectural style was prevalent. Houses of the rich people were studded with precious stones (11.9,12,13). They used to be well ventilated (II.16) besides, the kings constructed Vapis, Sarovaras, Caityas, for the welfare of the people (II.8,46). Means of Recreation People rejoiced by playing upon the Vina (1.64), Turya(V.66), Kahala (V.68), Dundubhi(V 1.2),Ardala(VI.17) RELIGIOUS PRACTICES During the reign of the earliest Caulukya king Mularaja, Saivism was the prevalent religion. The king himself visited the temple of Somanatha every Monday (III.6). Besides, Kurmarapala also undertook the repairs of the temples of Kedara and Somanatha (III.26), it was during his reign that Jainism began to flourish. He built a number of Viharas for religious purpose (III.27). Next, Vastupala was most devoted to religion (IV.7). He undertook many righteous auspicious actions for the spread of religion (V.13). He honoured all the religions. Vastupal aslo undertook pilgrimages to spread the religion. In ren course of his Yatra of the cougregation, he visited the temples on Mount Satrunjaya, Girnar and Raivataka.

POLITICAL THOUGHT AND INSTITUTIONS 314 KINGSHIP During the Caulukya period, the kingship was hereditary. From Mularaja, the first king of Caulukya dynasty, till Bhima II, we see that the throne was occupied through succession (III.1-35). But when Bhimadeva II came to occupy the throne the feudatory kings began to make plans to recover his teritory. Under such circumstances, Amoraja, son of Dhavala of another branch of the Caulukya unable to bear the attempts of the feudatories opposed than and himself seated on the throne of Anahillapattna (III.36-40). This resulted in the change of kingship. Though the dynasty was same, yet the branch was different. In course of time, his son and grandson occupied the throne (III.41). MINISTERS The dutas or the messengers were oppointed to carry on the messages from one state to another (V.20). ARMY- The Kavya being that of Santa rasa, there is very little description of wars and battles, from that only we come to know that the kings and ministers possessed the usual fourfold army.

315 GEOLOGICAL IDENTIFICATIONS The names of the geological places mentioned in the Vasantavilasa Mahakarya with reference to the wars and battles, and the places conquered by the kings and ministers have already been identified in the previous works. FLORA AND FAUNA Following is the list of Flora and Fauna which are mentioned in the Vasantavilasa Mahakavya FLORA. Patala VI.2 Dalima IX.53 Campaka VI.3 Jati X.75 Vicakila VI.4 Yutika X.75 Makaranda VI.4 Ketaka X.75 Navamallika VI.6 Abja X.75 Sirisa VI.8 Nipa XII.24 Malani VI.19 Selindha V 1.22 FAUNA Kadamba VI.23 Kurala IX.37 Lavali VI.45 Karabha IX.82 Tamala VI.45 Ustra XI.83 Lavanga VI.45 Bakota V 1.45 Amra VI.53 Koka XII.4 Asoka VIS 7 Ali XII.4 Kaniska VI.58 Kokila XIL 4 Lakuca VI.S 9 Mayura XIL 4 Bakula VI.60 Camara XII.7 Tilaka VI.61 Mrga XII.7 Madhavi VI.61 Kapi XII.7 Kowabaka VI.61 Varaha XII.7 Japakusuma IX.48 Gaja XIL 7 Kasa IX.48 Sarasa XII.16 Bandhuka IX.50 and=