Studies in Indian Literary History
by P. K. Gode | 1953 | 355,388 words
The book "Studies in Indian Literary History" is explores the intricate tapestry of Indian literature, focusing on historical chronology and literary contributions across various Indian cultures, including Hinduism (Brahmanism), Jainism, and Buddhism. Through detailed bibliographies and indices, the book endeavors to provide an encycloped...
13. Harikavi alias Bhanubhatta (a Court-Poet of King Sambhaji)
13. Harikavi alias Bhanubhatta, a Court-Poet Of King Sambhaji And His Works: * (1) Sambhurajacarita composed in A. D. 1685; (2) Haihayendracarita and its commentary; (3) Subhasitaharavali. I T aque The only Ms of Sambhuraja-carita by Harikavi recorded by Aufrecht 1 is "Report XIII" which is the same as No. 191 of 1875-76 in the Govt. Mss Library at the B. O. R. Institute, Poona. This Ms is fragmentary and incomplete but is historically very important as it is a poem of a very high order dealing with the life of the Maratha King Sambhaji , the son of Shivaji, the founder of the Maratha Kingdom in the Deccan. This Ms was acquired by Dr. Buhler in 1875 2 from Surat. Unlike Rajarama-carita 3 of Kesavapandita which bristles with the names of historical personages and events, the Sambhuraja-carita, judging from the fragment before us, is unfortunately lacking in historical details to such an extent that even the identity of Sambhuraja, the hero of the poem has got to be proved. In fact my friend Mr. V. S. Bendre, who first studied this Ms in 1931 and whose zest for historical knowledge about King Sambhaji has led him to the establishment of an institution called Sambhaji Caritra Karyalaya with the sole purpose of gathering materials for a historical biography of King Sambhaji, was disappointed in a further study of this fragment and consequently the fragment remains unnoticed since its acquisition in 1875 by Dr. Buhler. beib I shall now proceed to show that King Sambhuraja, the hero of the is none other than the renowned Sambhaji, son and successor of poem, Shivaji the Great. This is clear from the following extracts culled at random from the fragment before us: 08 Shivaji is referred to in the following extracts :folio 3 - " ihasinnasiram ruciratanubhajam tribhuvane | | sivakhyo desanamadhipatiranekadbhutagunah | ...etc. - sarvavanitah || 24 || Annals of the Bhandarkar O. R. Institute, Poona Vol. XVI, pp. 262-291. . 1. Cata. Catalogorum, Part I, 637, 756. 2. Report on the Search of Sanskrit Mss, p. 13. boodblido 3. Kefavapandita's Rajaramacarita or Journey to Jinji edited by V. S. Bendre, 1981. (B. I. S. Mandal, Poona, Granthamala No. 36 ).
Harikavi alias Bhanubhatta " - " vadanyo nehanyo jagati sivabhupadvijayate " || 25 || 101 Belon The parentage of Sambhaji from Shivaji is clear from the following:- folio 4 - " pradipo dipamgadiva gaganaratnadiva maha- - " Bac mahah pumjah padmadiva paramasaurabhyanivahah || sudhamsuksirabdheriva haritarunamdanavana- | divayam sambhutah kila sivanrpacchambhunrpatih " || 29 || " gunanamadharastribhuvanabhavanam sivabhavo | yadekoyam sambhurvilasati mahipalatilakah | camatkaracaturaih || 35 || " 97000 ranamganavisarpinah sivabhavasya bhupasituh etc. "deoupsrid folio 79 folio 80 - " sivodbhavanrpodrutau " - oilot We get a glimpse of Sambhaji's youthful person in the following verse:-folio 44 - " asminkale kamalanayanah kotikamdarpakamto | nana kalpadyutiprthuvapurmattamatamgagami || sambhurdilasacivasahito mamdahasollasacchrih | srmgarakhyo rasa iva caranrajamarga vivesa || ,, ll to diges He is referred to as sambhu, sambhunrpati and sambhuraja throughout the Ms. The poem consisted of 12 sargas or cantos and it is really a great loss to literature that only about 2-3 cantos are available to us in the present fragment. Mr. Bendre has not been successful in his attempts to get a complete copy of the work. The fourth canto deals with the poetic description of Sambhaji's marriage in quite a classical style and is concluded with the following colophon:folio 53 - " iti srimatsuryapurasthita srinarayanasurisunuharikaviviracite vijayamke srisambhurajacaritakhye mahakavye srisambhurajavivahavarnano nama caturthah sargah samaptah || " carob con In the 4 th canto Sambhuraja's bride is referred to as in the following verses: -folio 49 - " campanamni ratimiva jaganmohinim svam kumarim | tatvanaisidativilulitah suryajasevakopi || 98 || " folio 49 -- " campasampadyutitatitiraskarini pradurasit || 99 || " -- " campavatyah sadanamakhilam socisa sobhayantyah " "" 911 1911 mroone toitade
The following verse mentions the bestowal of it in marriage to "who is mentioned in verse 98 quoted sambhu by her father " tapanajadasa above as " suryajasevakah- folio 53 - "pascattam samalamkrtam tapanajadaso dadau sambhave | " - bhupayasu sadaksinam suvidhina harsasrumaladharah || tamtrajnoscatuskamanayattau dampatisumdarau | enivollet oilot lajahomavidhim vidhatumuditau jyotsnasasamkaviva || 134 || " - " sakhyam saptapadinamahurapi ye etc. || 135 || " The nuptials were celebrated at a city called variously as 'mihiranagara ' or tapananagara ' ' tapanapattana ' satyadasa was the adhipati of the city and it was at his request that King proceeded to that city for his nuptials:-folio 42 - " satyadasopyatha nrpataye bhuridayapi datva | taram haram valayayugalam nihpravanidvayam ca || avasartham mihiranagarabhyamtare tam yayace | praudhapremasakalaprtanasamyutam saudharajau || 33 || " 03 eilal People of the town gathered to have a look at King sambhuh folio 42 - " jagmurvaso ruciratanavah sarvatah preksanartham | lokah sarve narapatimaneh samghasah panyavithyam || samvibhranascapalavapusah panibhirbalakansvan | adhavamtastvaritamabhitasvasamutphullanetrah || 35 || " And ladies were not behind men in their curiosity to have a peep at the King. Their hurried movements are described in the patent classical style. The following verse will serve as an example:- 88 folio 44- 'bhupeksartham tvaritagamanaprodyata vidyutabha | - Ssakta gamtum capalacarananyasamautsukyanunna || kacitsthulastanayugabharakrantisamstabdhacaram | saramgaksi prthulaprthulam svam nitabam ninimda || 55 || " foenis case satyadasa got down from his elephant and welcomed King sambhuh- folio 45--" ittham yatam mihiranagarabhyamtare sambhurajam satyadasah sabahuvinayam sadaram kumjaremdvat || uttaryamtho vipulalalitapramgane saudharajya | - 2929 wollot dhrtva kamte karakisalaye pravisattannivesam || 67 || " After the marriage King Sambhu starts on his return journey in a chariot accompanied by his bride campah-
Harikavi alias Bhanubhatta folio 78 - " upetya sibiram nijam subhatarajivibhrajitam | - nrpemdra mukutah svakam svasuravargamajnapya ca || slathahrdaya pamkajam pracaladasrunetrambujam | cacala calalocanam samupavesya campam rathe || 26 || " 103 The Governor of accompanied the returning party for some distance but was asked by King Sambhu in touching words to return:- folio 71 - ' tatastapanapattanadhipatimagatam durato | nivartya manujesvarah savinayam sasainyam balat | rahasyatitaram pibanvaratanostano ramyatam | tato bahumudanvito ramanametaduce vacah || 30 || Boot to band ord King Sambhu returned to his capital and passed a few days of happy married life but shortly afterwards got the news of an enemy attacking his capital and forces:-folio 74 - " tatah kila sa susruvansvanagarimativyakulama- | - ratinikaraih krtamavasaram samasadya tam || + sametya sacivaih samam tadanu manasam bhupati- | dadhara gurunodito nijavaruthini sajjane || 58 || " Personal prowess of King Sambhu in the battle is described:-folio 76 - "muhurmuhuratisvananprthulamamdalebvasano - | - layambuda ivadbhutam bahalabanavrstim srjan || karamkuravarasphuratkacakacamcalapramcitah | samagamadatho nrpah pracalakamkanah kaumkanah || " And Goddess of Victory crowned him with success in the battle:- * folio 81 - "nirgatyahava sagaradvahusaradrataudhakallolino | banoni karimdra kumbhavigalanmuktavalim bibhrati || (Sini ban vamam bahumiyam vilokya nrpatervirasriya sevitam | bheje daksamasipravenirucira jane jayasrirapi || 120 || " The T of King Sambhu blessed him on the successful termination guru of the battle:-folio 81 Cal oilot " asirbhirnadayitva gururapi sa gurum ksmapatinam sakampam | campam tasmai bhayadhyam sakalabhaya harayapayitva saharsa || niscimtobhuccarasollasitatanulata sapi dorbhyam grhitva | nyasta tena svayanibalajaya kamala sevyamaneva reje || 122 || " boost The guru of Sambhuraja by name srikrsnapamdita was apparently an influential person as the following verses tell us:-
folio 82 - " srautasmarttagami yakhilavimalamahadharmakarmaprakarta | olice not leg dess The edT nanasastrarthavetta vibudhajanamanah kamitarthapradata || sarvesamistakarta sakalakhalajanakharvagarvaprabhetta | srikrsnatpamditatkastribhuvanavisaye kovidaklesadarta || 124 || sadhunamavadhirvibhavitavidhirvidyadayambhonidhih | saubhagyaikanidhirvidamatri saujanyavaramnidhih || durniteh paridhih khaladyupavidhih prajnaprabhasevadhi - | ryasyaste gurureka eva sunidhih krsno gunaughambudhih | | 125 || praises the achievements of the glittering sword of wat in the hands of King sambhuh folio 82. 11 Discontex " rajanika ghosayamastava vijayamaho te vayam mamdavaco | acy tnd sonaab I offo? "" alf beinan virasrisobhamanah karatalavilasaccamdrahaso bhavanyam || benedies aft cakre ttattapramattadviradgalacala bhuribhamkarapurnam | sa virasamsini bhukhijagati vijaya samsini yaccakasti || 126 || sambho tvatkhangavalli lasati samudita kalakadambiniva | dhvamtalim saimyadhulim bata jagati samatatya jhatkaravidyut || astram sarairaparaih pradhanavasumatim plavayamti sat| praudhaksunnebhakumbhodgatamanikarakanpraksipamti nitamtam || 127 || sute nanapadarthamstava yadasilata sambhurajadbhutam tat | taparka kirticamdra vijaya hutabhujam tarakalim gunalim || jhaskaranvidyudoghanapi ripukamalam bharatimasmadiyam | narinam satravinam nayanayugasarabaspasaivalinisca || 128 || " The numbering of folios breaks off at folio 82 and different numbering begins, the folios being numbered differently in black and red ink. Apparently a new chapter begins on folio || sriganesaya namah || 159 (red ink ) 1 (black ink with Folio 160 King Sambhu and Campa, his queen, are shown as 1 enjoying the pleasures of life. The following verse shows them in a sporting mood :- -- "kamtam campa svatha himacaladvatasamjatakampa | sadhicibhih sahahimakratum sampravrttam samiksya || saukhyagaram sramabharasukham laghavartham svadehe | lilagehe kuruta lalitakamdukakriditani || 15 || leesults
Harikavi alias Bhanubhatta 105 of are The above chapter breaks off at folio 177 18. Another chapter begins 181 on folio 1 - with " sriganesaya namah " The poet flatters his own style in the following verse :folio 197 66 sphurjatsuktaviviktavakyaracana caturyasaramtara | 17 at evig bas srmgarakhyarasesamarmakalitah nanagunalamkrtah | sallalityamanohara harikavervacah pragalbha iva | Bee vroinsung prollasam racayamtu yamtu vibudha vimdatyamamdam divi || 151 || " Then follows the colophon of the 10 th canto which is called 'suryastadivarnana ' folio 197 17 :- -" sadhusrenipadabjavamdanakarah samtosapurnatarah | srinarayanasambhavo harikavirnarayanopasakah | campavalyanavavadyapadyaracanacaturyavidyotite | tatkavye khalu sambhurajacarite diksamkhyasargobhavat || 153 || " iti srimatsuryapurasthita srinarayanasurisunuharikaviviracite vijayamke sambhuraja caritakhye mahakavye suryastadivarnano nama dasamah sargah || samaptah || sri || " The next canto begins on folio 198 It contains a description of King 18 • Sambhu enjoying a bath with his queen Campa in the bathing apartments. The bathing accessories in royal style are described in the following verses :- 200 88 folio patram nilamaricimamdalagatam praudhemdraratnodbhavam | 3 sorabhyadbhutasaumatailalalitam bhrmgavaligumjitam || kalimdihrdamadhya samsthitamiva vyakrosamimdivaram | samdramodamaramdavrmdasubhagam sambhati sambhavyatam || 15 || tailadharavinilanirgatamahah pumjaprasaramtare | lolamtah kila kakalikalakalah sambhati puspamdhayah || kalimdipulinodarapravilasajjumbalajale mithah | khelamto malinamgakah kalaravasaktastu bala iva || 16 || " 200 3 o Do not This canto breaks off at folio and a fragment of another canto abruptly begins on folio 224 • 11 It contains visnustuti . 14
Shivaji was called 'gobrahmanapratipalaka ' The following verse refers to ' godvijacamdracudagurusu bhakti ' as perhaps a family heritage :sit folio " ayuh srirvijayah sukham ca paramaisvaryam pratapodayah | 232 19 kirtih kumdanibha matisca vimala sampacca sarvonnata || kamtih saradacamdrikacayasama vidya ca vidyotini | bhaktirgodvijacamdracudagurusu srisambhurajastu te || 152 || ' " 181 Hari Kavi makes his own remarks about his poetry and gives us his genealogy and the date of composition of Sambhuraja-Carita:Folio- 288 - karttum kamtakavitvakotiracanam yadyasti vah kautukam belino t 20 tatsamtah pibatamalanimadhunasiktani suktani nah || 161 || maya mamdeneha tribhuvanamanoharicaritah | krta vacam gu (gum )pham gunavihitarupam krtadhiyah || tadetajjanidhvam yadayamupajivyamarataro - | giram gamdham praptah kavisurabhitam samkaraguroh || 162 || 1 yenaikah kavitavatarasamaye gramthah samullasita- 1 stasya eva suvisrame punaraho bamdhah paro nirmitah | tasya lasyavidhau krtastu baddavaste te prabamdhottamah | soyam kopi harim kavih kaviravijyotih kano divyati || 163 || 2 srinarayananamasadyativarapraudhaprasadodaya- | dyaprapakhiladurlabham nijakule karunyakallolinim || dren of P Janggained srikamtasya yayamalehyakurutam tasminvilasam nijam | uddand 1 The following verse in small hand-writing is given at the top of folioindicated by the mark after the verse No. 162 :- " srimadvyakaranavagahanapatuh kavyadhiparamgamah | sahityamrtasimdhuragamalasaddharmasastrodbhatah || chamdolamkrtisastrasalidhisano nanopavidyanidhih | satchastranugatamtaro harikavirnarayanirnadati || 163 || " 233 as an addition 20 2 After verse No. 163 the following addition indicated by the mark is copied in the bottom margin of folio 233 20 " bakta saddarsa (na )nam bhavati khalu narah kascidahosvidanyah | Class vstions to prajnah sarvasu vidyasvapi bhavati janah sarvalokaikamanyah || duhprapah kopyanalpaprakharataramatih sotravidyasukasva- pyekam padam tadarddha padamapi vibudhanamdanam sumphameghah || 164 || " gands AM
cro Jossdre oroda Harikavi alias Bhanubhatta 2 vairam rudhamaho vihaya satatam vagvadini sampadau || 164 || yasca sripatimamtra cimtanasamullasollasatsobhagam | saumdaryam paramapatattribhuvanapraksobhanaproddhuram || tam sampattibharam varamtayamalam vacam vilasam tatha | yairvibhramtikaro bhavattrijagatam kamacyuta brahmanam || 165 || soyam bhuriguno nikamamahima saujanyavaram nidhih | sri cimtamaninamako dvijapatisraturyacimtamanih | surim sunumasuta tam tanudharam saksatprasadodayam | srikamtiyamiva prakamavibhavam sriramganathabhidham || 166 || nanasastravicaracarudhisano visvopakaravratah | srigovimdapadaravimdasurasa saktamtaremdimdirah || yah sribhagavatamrtabdhivilasatkallolasekaih sada | samsarabhidhadavadagdhamakhilam lokam samajivayat || 167 || tasmadavirabhuttrilokavidito narayanah kim svayam | srinarayananamako guruvarah sri padmanabhanujah || yasminnasatate gunah sthitijusah sarvenukampadayah | sviyam vairamaho vihaya satatam saujanyalubdha iva || 168 || patamgatanujalasanmihirapattanadhyasanah | samasta gunagumphito vibudhacakracudamanih | ramesapadapankajapramadamanasemdimdirah | Tolice at E RPM parastakuhakamtarapragunadaksinatyanvayah || 169 || srutismrtipuranaja khilasudharmasamvarddhanah | samudravasanollasadisadakirticamdrodayah || vilokana vidaritapracitalokapadodayah | sudharma iva murtimanvijayate sa narayanah || 170 || 107 shan as betaessige od sima (5) 1 satkirtikalpalatika dalitamkurasi- | dvijnanakalpatarurapyakhilo visirnah | saujanyasimdhurapi suskasudharasobhu- | narayanekhila gurau svatanum praviste || 171 || tasmatsadhupadabjasevanaparah soyam harisvabhava- | chinarayanapadapamkaja sudhasevaptavagvaibhavah || yah sri sambhumahipaterapi gurostasyaiva krsnakhyaya | vikhyatasya nidesato varamidam kavyam vyadhadadbhutam || 172 || 2) M (1) sambhuh kavyamidam mahatkrtavatah sviyajnaya srihare- |
sveto (s) bhistamalam dadau tadakhilam yenayamanamdavan || ( sampu ? ) rna sakalam svakiyamamalah putrapraprautraih samam | yavajjivamaho svajivanakrte nanyam vadanyam gatah || 173 || vikasam sanite vibudharavibhih kavyakamale | madiyesminsphurjadvividhagunasaurabhyanivahe || rasali sampurna kamalanilaya satidayaya | sarasam samvasam racayatu jaganmohanakari || 174 || bhacamdrarka samudyannavarasalalitam dhotisamdarbhasaram | nanalamkarapurnam nicitagunaganam bhuribhavarthamgabham || rajadvaidagdhya mugdham muraripugrhinimullasamtimivamtah | kamasuyavimukta mama bhanata miho sadhavo bhavayamtu || 175 || duhsamgostu kadapina tribhuvane kasyapi sasyanvitam | bhumih samtatamastu vastuni pare nistham vrajeyurjanah || nica nityamiha syajamtu suhrdam vairam na vairamkurai- rbhagyanam ksitinayakah ksititale sambhusciram namdatu || 176 || sricimtamanisurisunuvibudhasriramganathodbhava- | srinarayanasambhavo harikaviryah srisapadasrayah || sargebhudanavadyapadyarana caturyavidyotite | tatkavye khalu sambhurajacarite kavyamtimo dvadasah || 177 || piyusamsu 1 samudrah sapta 7 vasudha 1 vidyotite vaikrame | varse masi ca pausanamni bahule pakse dvitiyadine || sadvare dvijanayakasya pitrbhe capurnayachriharih | kavyam sobhanasambhurajacaritam nanagunojjrmbhitam || 178 || iti suryapurasthite narayanasurisunuharikaviviracite vijayamke sambhurajacaritakhye mahakavye rajanititatvopadesanirnayo nama dvadasah sargah || sri || sampurna caitatkavyam || sri || The genealogy of Hari Kavi as disclosed in the above extract can be represented as under :- (1) cimtamani ( vide verses 166 and 177 above ) (2) ramganatha ( Son of No. 1 - vide verses 166 and 177 ) (3) narayana ( Son of No. 2 - vide verses 168 and 177. He is called | the younger brother of padmanabha in verse 168 ) | ( padmanabhanujah )
Harikavi alias Bhanubhatta (4) (Son of No. 3-see verses 177 and 170). 109 It appears that Hari Kavi's father Narayana who was originally a Deccani Brahman (c:- v. 169) had settled at Surat as he is called 'mihirapattanadhyasana ' (v. 169 ) i. e. resident of mihirapattana which is the same as g or Surat mentioned in the colophons. It appears that Hari Kavi also was residing at Surat or age and consequently the scene of King Sambhu's marriage with q is laid in ff (folio 45) which appears of which Hari Kavi's father was resident as stated in verse 169. How far this fact is true to history I am unable to say at present. to be identical with ff n yerse 1 In verse 172 quoted above we are told that this poem was composed by the order of ( nidesatah ) one krsna known as the guru of King sambhu ( = sambha mahipateh api krsnakhyaya vikhyatasya guroh nidesatah idam kavyam vyadhat etc.). This krsna guru appears to be identical with fea described in two verses (on folio 82) which we have quoted above. The date of composition recorded in verse 178 of the colophon is Vikrama Samvat 174, in the month of Pausa, Bahula Paksa, 2 nd tithi, which corresponds to Monday, 12 th January 1685.1 The last folio which records the above date of composition was found pasted to another stray folio with some written matter on both the sides. This stray folio records on one side the colophon of some work on phala-jyotisa or astrology containing Samvat 1740 and Saka 1605 ( =A. D. 1684), If this date is regarded as the date of copying of some work on astrology it may be possible to conclude that our Ms of Sambhuraja-Carita is a contemporary copy perhaps made in the very year of its composition viz. A. D. 1685, its last folio being pasted on another stray folio written one year earlier i. e. in 1684 as pointed out above. The other side of the stray folio contains some written matter concluded by 3 verses ascribed to Hari Kavi as under:Folio 235 22 -" sphuratkirtijjyotsnavalayavisarollasitakarah | pratapagnijvalaprasarabhara samtapitaparah || samudgacchatparvamrtakaramukhovisvamahito- | grajo yasya bhrata jayati mahitah samkara iti || ye janmavadhisambhrta ca rabhasam nanabhilasah param | tanaptum surasaprakokilakarastvamasritah sadaram || 1 Indian Ephemeris, Vol. VI, p. 172.
110 yllenging aw at of an escen 22 91 Studies in Indian Literary History astam durata eva tatparicayah kimtvasya sadharana- | (4) tvatto jivatamapyalabhyamabhavatkim brumatah param || " sumukhasikharanamagramaganapranama- | oederal of smaranavidditavighnadhvamtadharavighatah || tarunataranikotijyotividyotitamgah | - harikavermamaitau || " " sa bhavatu bhagavanme vighnaha vi ( ghnanasah ? ) || " - harikavermamayam || ed on There is besides the stray folio described above another stray folio in the beginning of the Ms written on one side of the paper with borders ruled in double red lines and of a slightly smaller size than the Ms of Sambhuraja-Carita containing the following five verses:- & allot mo) 252 80 || sriganesaya namah || himagiritanaya sa patu mam saravrtta- | prathitagunavisarga yadgunakrstacetah || tribhuvanagururiso yam vahannarddhadehe | gamadativikrtam hapyarddhanarisvaratvam || 1 || srimangajemdravadanah sadanam matinam | Coidy alley can payadapayabhayatah sa tu mam nitamtam || bhaktanuragamiva kumbhayuge dadhanah | doos of simdurapuramamitam bahirujjihana || 2 || 1 to as bro dda betorp even ow donder to aleb ode phullapatrasatapatralocana bhaktasaktahrdaya dayasarit | thegal atabasdasagaravicaracaturi heturipsitamira dadatu me || 3 || 2 gria or bidieo Since an bisbels ba Bade shafone govn sham aqatest laghamte mahimanamatrakavayah ke ke na krstamtara | aM camcatkavyakarah param tu garima sricakrapanerguruh | bimbadvesidale yadasyakamale . . damtatule | vagdevi kamaleva visvahrdayaprahladini khelati || 4 || kamteva mamjulapada kamaniyavarna | saslesapurvakamapurvataram vadamti || na syatkatham tu sarasa sakala sabhava | sricakrapanikavitabhimata budhanam || 5 || atha bahulagunah sumananiyo | bhuvanabhuva ...... " 1 This verse is identical with verse No. 1 in Ms No 829 of 1875-76. betning as 1861 cilo T 2 This verse No. 3 appears as verse No. 4 in the Ms ( No 829 of 1875-76 ) of haihayendrakavya- vyakhya of Hari Kavi.
Harikavi alias Bhanubhatta 111 It is clear that the above extract contains the beginning of some poetical work of cakrapani as the expression " cakrapanikavita " in verse 5 above shows. I shall now prove that this nor is identical with the brother of Sri Hari Kavi, the author of Subhasitaharavali. Dr. Hara Datta Sharma in his article 8 on Sri Hari Kavi, the author of Subhasitaharavali remarks:- ' "Hari Kavi was the pupil of Narayana, one of whose verses he quotes and refers to it as srinarayanagurucarananam " His youngest brother was called cakrapanikavi and he is referred to by Hari Kavi as 'malkanisthabhrata ' or asmadanujacakrapani kavi . ' It seems that our poet had other brothers but we find no account of them. This c differs from the mentioned in kavimdravacanasamuccaya (p. 37 ) saduktikarnamrta (p. 53 ) and padyavali of rupagosvamit (fol. 26 a, v. 258). Dr. Sharma then quotes two verses introduced by Hari Kavi as composed by his brother c. They are:- ( 1 ) " krpapamgadyasya srayati rasanam subhravasana | odt lo cotigolpo .bhagavanekaradanah 100 smed 1 - matkanisthabhratuh cakrapanikaveh " (2) " slaghya (gha) nte mahimanamadya kavayah sviyam na hrstantarah | ke ke kavyakarah parantu garima sricakrapanerguruh ( roh ? ) bimbadvesidale yadasyakamale ksodabhadantamale | vagdevi kamaleva visvahrdayaprahladini khelati || age II : de 10 (8) - matkanisthabhratuscakrapanikaveh " (fol. 33. v. 124) khelati . "This It will be now seen that verse No. 2 quoted above is exactly identical with v. 4 of the cakrapanikavita stray folio viz. " slaghamte identity proves beyond doubt that Sri Hari Kavi, the author of Subhasitaharavali refers in his anthology to the verses of his brother culled from the "fosfaar" Ms, a stray folio of which has been preserved in the Ms of fa of Hari Kavi. This association of for with the author of a raises the question about the identity of the two Hari Kavis viz. (1) harikavi, the author of subhasitaharavali and (2) harikavi, the author of . I shall now prove that both these authors are identical. My grounds for establishing this identity are:- 3 Indian Hist. Quarterly Vol. X, No. 3 pp. 478-485.
__(1) Dr. Sharma observes 1 about Hari Kavi, the author of subhasita- haravalih- "The author Sri Hari Kavi seems to have been a poet of high order. He boasts of himself in the following verse :-- yenaikah kavitavatarasamaye gramthah samullasita- | " stasya eva suvisrame punaraho bamdhah paro nirmitah || tasya lasyavidhau krtastu ' bahavaste te prabamdhottamah so'yam ko'pi harih kavih kaviravijyotih kano divyati || (fol. 33 a v. 123) The above verse is identical with v. 163 on folio 233 of the Ms of 20 sambhurajacarita incorporated in the long extract quoted above. Perhaps it may have been taken from the Sambhuraja-Carita by the author of Subhasitaharavali. This identity of verses is sufficient to establish the identity of the two Hari Kavis. (2) Mr. M. Krishnamacharya 2 in his book on Sanskrit Literature remarks about Hari Kavi the author of Subhasitaharavali:-- "His native country however appears to be the Dekkan and he betrays a very close acquaintance with the literature of his country. 99 These remarks are to some extent borne out by the colophon of the Sambhuraja-Carita. We have stated above that Hari Kavi's father narayana was the resident of mihirapattana or suryapura or Surat but he is said to be ' daksina- tyanvaya ' (v. 169 of the colophon ). ( 3 ) Dr. Sharma states about the author of Subhasitaharavali:- "Among various other poets Hari Kavi mentions the names of the following with reverence asI ramajitpamditanam III madhavapuripadanam V madhusudana sarasvatinam srikrsnapamditanam VII IX XI sribopadeva pamditanam somajidbhattanam . II laksmidharapadanam IV mahisvarapuripadanam VI anamtadevanam VIII sriraghavacaitanyanam X gopinathapamditanam It is possible to make a conjecture that these people were either Hari Kavi's contemporaries or preceded him shortly. 99 Dr. Sharma's conjecture that some of these people were Hari Kavi's contemporaries appears to be corroborated so far as ea is concerned. 1 IHQ, Vol. X, No. 3, p.482. 2 The Classical Period of Sanskrit Literature, Madras, 1906, p. 126.
Harikavi alias Bhanubhatta 2 113 We have seen above that the a mentions him as the guru of King Sambhu and describes him in two verses (124 and 125 on folio 82). Besides we are told that Hari Kavi composed the Sambhurajacarita at the bidding of this fea (v. 172 on folio 233 20 ). 97 (4) As regards the parentage of the author of the Sambhurajacarita and that of the Subhasitaharavali I have to observe as follows:be (i) The colophons of the different Sargas of the Sambhurajacarita uniformly call harikavi as ' narayanasurisunu ' i e son of narayanasuri . Then again verse 177 of the extract from the colophon quoted above and verse 153 197 on folio use the adjective ''with reference to Hari Kavi. 17 He is also called 'fo:' in verse 163 in the top margin of folio All these expressions prove that narayana was the father of harikavi . 233 20 The (ii) Dr. Sharma states that Hari Kavi, the author of quifqa was the pupil of narayana as he refers to him as ' narayanagurucarananam . statement of the colophons in the sambhurajacarita makes it clear that narayanasuri was the father of harikavi . The title suri here is significant as narayana was not only the father of affa but his g as well, because in verse 168 he is mentioned as guruvara ( narayananamako guruvarah ) which corresponds to the title fused in the colophons. It is, therefore, clear that one and the same person was both the T and the father of Hari Kavi. In verse 153 197 , (Folio ) Hari Kavi calls himself in addition to his 17 being ' narayanasambhava . 233 20 Verse 164 (folio ) informs us that his family attained pre-eminence owing to the grace of an ascetic (afa) of the name of narayana . The identity of the two Hari Kavis is in my opinion sufficiently established on the strength of the evidence recorded above. It is now easy to fix the date of Subhasitaharavali. In this connection we quote Dr. Sharma's conclusion: -1 1 "As Hari Kavi quotes the verses of Panditaraja Jagannatha, he cannot be a contemporary of Akbar. Therefore, he must have flourished in the middle of the 17 th century A. D.". 1 IHQ, Vol, X. p. 479. 15
This conclusion of Dr. Sharma is confirmed in general by our study of the Sambhurajacarita because it was composed in A. D. 1685 and because of our identification of the author of the Subhasitaharavali and the Sambhurajacarita as stated above. As regards the chronological order of these two works we are unable to decide because the verse common to both these works is not indicated by the name of its source. A glance at the varied and rich contents of the Subhasitaharavali will show, however, that Hari Kavi was a voracious reader and perhaps this encyclopaedic anthology containing gems of Sanskrit poetry culled from innumerable sources beginning from poets and poetasters of hoary antiquity down to his contemporary Krsnapandita and even his younger brother Cakrapani, served as a good discipline for a budding poet of Hari Kavi's classical taste so as to enable him to write an independent mahakavya in 12 cantos bubbling with the essence of Sanskrit classical poetry and devoted to the glorification of King Sambhaji, whose gay personality afforded him an excellent opportunity to make a colourful display of a princely career, which has been estimated by some modern historians as politically effete and unwise. My brief analysis of the Sambhurajacarita based on the available fragment of this mahakavya will, it is hoped, remove doubts, if any, of modern historians about the identity of the hero of this poem with King Sambhaji, the son of Shivaji. I shall, however, sum up the main facts revealed in my analysis which support my identification of Sambhuraja with King Sambhaji:aid (1) Date of composition of the poem viz. A. D. 1685 corresponds to Sambhaji's period of reign. (2) The birth of sambhunrpati from sivanrpa and the adjectives sivabhava, sivodbhava as applied to in many places as pointed out by me in the preamble of this paper clearly indicate the parentage of the Maratha King. (3) The reference to the sword of the goddess wat in the hands of King Sambhu and its description in three verses as pointed out by me also confirm my. identification. , (4) The mention of '1...... ' with reference to Sambhuraja is also important. Shivaji was called '' and his son ed 1 Compare the following verse in the Budhabhusana of King Sambhu (Govt. Ori. Series) B. O. R. Institute, 1926: " adhitya vedanparisamstirya cagninistva yajnaih palayitva prajasca | gobrahmanarthe sastraputantaratma hatah samgrame ksatriyah svargameti || 55 || " E
Harikavi alias Bhanubhatta 115 Sambhaji was expected to follow his father in keeping this motto before him as a state policy at a time when Hinduism was regarded to be in peril. (5) The poet Hari Kavi may have resided occasionally at Sambhaji's court, though he himself and his father may have been normally residents of or Surat. As the poem was composed at the bidding of Sambhaji's by name is such an inference is warranted. At any rate a greater contact of the courtly life of King Sambhaji may be presumed in view of the dominant note of gaiety prevailing in the portion of this mahakavya analysed by me. The poet's family belonged originally to the Deccan as his father is called' and naturally he must have entertained a high regard for a King of the Deccan territories, though Surat was at this period of history in the hands of foreigners. My friend Prof. H. D. Velanker has already published a "Sanskrit work called c (Bhandarkar Oriental Research Institute, Govt. Ori. Series, 1926) claiming for its author King Sambhu, popularly known as Sambhaji, son of Shivaji the Great" and has thus retrieved the lost name of King Sambhaji as "nothing but vicious deeds, at the most brave and daring, are usually connected with the name of Prince Sambhaji." About Sambhaji's literary taste Prof. Velankar remarks:- "- it is possible to conclude that not only had Sambhaji received education at the hands of learned Pandits but he had also taste for Sanskrit literature and was occasionally in the habit of writing poetry in Hindi under the influence of Kavi Kalasa or the celebrated Kalusha, especially when passing his leisure hours in the company of beautiful women." In his Preface Prof. Velankar refers to Sambhaji's Hindi Poems, selections from which were shown to him by Mr. Purushottam Vishram Mavji, J. P. Then again verses 1 16 and 15 in the preamble of Budhabhusana clearly refer to Sambhaji's contact with learned men well versed in Poetry, Rhetoric, Puranas, Music and Archery. Hari Kavi, a poet of no mean talents, must have been foremost among the learned men patronized by Sambhaji and in my opinion his present mahakavya gives an added lustre to the cultural history of Sambhaji's reign. woied 901 1. These verses read as follows:- " tasyatmajah sambhuriti prasiddhah samastasamamtasirovasantah ( vatamsah ) | yah kavyasahityapuranagitakodandavidyarnavaparagami || 15 || vivicya sastrani puratananamadaya tebhyah khalu soyamartham | karoti sadgranthamamum nrpala sa sambhuvarma budhabhusanakhyam || 16 || "
sets About Kalusha, the enchanter, who exerted a wonderful influence upon Sambhaji Prof. Velankar remarks:- 99 "Among the quotations we find one from the pen of famous Kalusha. It is highly poetical and even though we unfortunately do not possess any literary remains of this great favourite of King Sambhaji, we have grounds to believe that he was a literary man. In the old chronicles he is described as Kavikalasa or the poet Kalasa. "We will not be, however, far from truth in assuming that to a considerable extent his literary gifts helped Kalusha to maintain his influence with the prince. It is quite possible that this Kavi Kalusha may have composed several poems, which were not preserved owing to the general disfavour in which he was held, but stray copies of which may yet have existed and might one day be discovered by us. 99 These remarks of Prof. Velankar tempt me to infer by way of pure hypothesis that sofa who is described in two verses as the d of King Sambhu in the Sambhurajacarita may be identical with Kavikalasa, the Kanuja Brahman who is popularly believed to have been purposely sent by the Emperor from Delhi. Hari Kavi, as Dr. Sharma tells us, refers to some verses of this pandit and introduces them in his Subhasitaharavali by the expression"." Then again in the Sambhurajacarita Hari Kavi states that he wrote by order (faa:) of one so who was the guru of even King Sambhu (sambhumahipaterapi guroh ). All these references show the great influence fe held over King Sambhaji and it is possible that he may have been identical with the great enchanter of Sambhaji, popularly known as Kavi Kalasa. This identification is however, suggested as a mere hypothesis as among other accomplishments of fea given in the two verses on folio 82 quoted above we find that he is called sakalakhalajanakharvagarvaprabhetta " and " durniteh durniteh paridhih khaladyupavidhih prajnaprabhasevadhih "expressions which may hint at his cleverness in political chicanery, so characteristic of Kavi Kalasa, the great enchanter of King Sambhaji. 8 Irrespective of our proposed identification of krsnapamdita with kavi kalasa it would be useful to put on record verses quoted by Hari Kavi in his Subhasitaharavali and ascribed to surfea for the reason that he is mentioned as the of King Sambhu in the Sambhurajacarita. If any poems guru of fa are traced hereafter by historians the verses recorded below may prove useful in studying the question of our proposed identity of the two personalities. I, therefore, quote these verses from the fragment of
Harikavi alias Bhanubhatta 117 the Ms of Subhasitaharavali viz. No. 92 of: A 1883-84 in the Govt. Mss Library at the B. O. R. Institute, Poona :--folios 8-9- - vrmdaranya mahisu vamsaninadamamdamrtasvadana- | nisyamdani dadhuksayeva surabhi vrmdani samdanayan || mamdaradrumavithikasuviharan vamdaruvrmdaraka- | dvamdvastutyabhinamditostu jagadanamdaya namdatmajah || 55 || - krsnapamditanam " folio 15 - " saivalasrenisobham dadhati harajatavallabhoham yasya | toilat sta sa sollasavalladvarasapharatulam yatra dhatte kalavan || unmiladbhogi bhogavali subhagasitam bhoja lambhavitabha | gamganamgarisamga mama mahati vidhau mamgalanyatanotu || srimatkrsnapamditanam folio 38 - " yadvani vanininam madhuramadhurasadrohinim rauhineyah | srutva hala helam racayati suciram sammmadakumcitaksam || kimcidraksasahaksaksararasanakarasrastarudraksamalah | sotkamtha nilakamthopyanupathati sirastamdavadambarena ||| 196 || maulamamdaradamabhradali patalikakalim sronibimbe || camcarakamcidanam caranakamalayo mamju mamjorasimjam || To ana eds 8 beiges zaw " evode di bas ass to godgofes follo aroda ad utsamge kiragitam stanabhuvi masrnam kallaki pamcamam va || tatkavye dattakarni sivasivamanute bharatibharameva || 197 || yah piyusa mayukhadhamani sudha sarachakachepi yah | ksubhyaraksirasamudrasamdralahari lavanyapurepi yah || yah kamtadharapallave madhurima nasau samudgahate | srividvatkavikrsnapamditavaco vicisamiconatam || 198 || argest and a binol erodite srikrsnapamditanamete " folio - " rasalam karasarapi vani vyakaranojjhita- | citropahatagatreva na ramjayati sajjanan || 216 || - - krsnapamditanam (E) We have seen above that in the old chronicles Sambhaji's adviser Kalusha is described as kavikalasa . In the above verses of krsnapamdita ho styles himself as fa fea apparently emphasizing his poetical talents and perhaps echoing the identity of his Sanskrit name far with the popular name kavi kalasa . II :01 Since the above paper was written I have analysed Mss of haihayemdrakanya represented by the following entry in Aufrecht's Catalogus Catalogorum, Part I, 768:-
118 ፡፡ Studies in Indian Literary History and tika by Hari, Report CLXX- Comm. by ay ibid" Mss represented by this entry of Aufrecht are available in the Govt.. Mss Library. They are:--(1) No. 827 of 1875-76. (2) No. 828 of 1875-76 and (3) No. 829 of 1875-76. They were acquired from Surat by Dr. Buhler in 1875. Aufrecht's entry about the author of this Kavya and commentary. is misleading because we find that this Kavya was written by Hari Kavi, the author of Subhasitaharavali and the Sambhurajacarita. of Ms No. 828 of 1875-76- This is a fragment of Eftafa. Some of its folios are not numbered but it consists of 46 folios. It was copied in Samvat 1779 i. e. in A. D. 1723 as the following colophon shows:-- " iti sri suryapurasthita srinarayanasurisunuharika viviracitayam sri haihayadvaicaritakhya- mahakavyavyakhyayam sambhuvilasikakhyayamastamah sargah || samaptah || sri || srirastu || samvat 1779 varse phalguna sudi 1 ravau samaptimagamat " The above colophon makes it clear that this commentary was written by harikavi . The poem commented on is a mahakavya called haihayendracarita and the name of this commentary is faifa.' We have no means of ascertaining the number of cantos of this mahakavya of harikavi but the above colophon of canto VIII proves that it must have been somewhat like the Sambhurajacarita in its extent. The references to earlier works and authors found in this fragment are:-- (1) saradatilaka fol. 1, 6; (2) abhidhanaratna fol. 2, 6, 7, 8, 11, 13, 15, 18, 19, 20, 24, 27, 30, 32, 37, 38, 39, 41, 44, 45, 46, 3) H: many times; ( 4 ) srimadbhagavata fol. 5, 17, 32, ; (5) dasaslokyamasvalayanena fol. 6; (6) far: fol. 8, 39; (7) samkhyamata fol. 9; ( 8 ) mahipa fol. 9, 28, 29, 32, 36; ( 9 ) bhagavatpadaih fol. 10; (10) acaryaih fol. 10; (11) naiyyayikamata fol. 10; (12) kavace fol. 19; (13) : fol, 20, 30, 36, 38, 44; (14) chamdobhujagamauli fol. 23; (15) bhasya fol, 29; (16) bhasyamatam or bhasyanumatam fol. 26; ( 17 ) pimgalasutra fol 26; (18) sarngadharya fol. 28; (19) matkrtameva fol. 29; (20) pimgalanaga fol. 29; (21) pimgalabhasya fol. 31; ( 22 ) rugvidhana fol. 33; (23) vagbhatalamkare fol. 33; (24) kalidasa fol. 36; ( 25 ) vrttaratnakara fol. 37; (26) ksirasvami fol. 42; (27) kamasastra fol. 42; (28) ratirahasya fol. 46; Telugog
F 7 Harikavi alias Bhanubhatta 119 Ms No. 829 of 1875-76 - This fragment of sambhuvilasika consists of about 76 folios of which folios 1 to 68 contain the commentary for canto I of haiiyendracarita, while folios 69 to 76 contain & portion of the commentary for canto II ( 12 verses only), This Ms is very important for our present study as it furnishes more particulars about Hari Kavi. The first 10 verses refer to narayana, the guru of Hari Kavi, and also refer to his patron sambhuprthvipati who is styled as saiva i. e. born of siva or Shivaji ( verses 7 and 8 ). We are also told explicitly that this commentary was composed by the order of Sambhaji and that the Kavya was composed by Hari Kavi himself (verse 10 ). This statement proves that Hari Kavi must have been a court-poet of King Sambhaji to receive direct orders of King Sambhaji unlike his composition of Sambhurajacarita which, as we have seen above, was composed at the bidding of krsnapamdita, the guru, of Sambhaji. Perhaps this guru may have brought Hari Kavi into prominence and royal favour recognizing his poetic talents and learning, being himself kavi and pamdita (' kavi- krsnapamdita ' ). I shall now quote the introductory 12 verses of this Ms as no other copies of this work are available so far:folio 1 - 2 -- " sriganesaya namah || srimangajemdravadanah sadanam matinam | payadapayabhayatah sa tu mam nitamta || bhaktanuragamiva kumbhayuge dadhanah | simdhurapuramamitam vahisajjihanam || 1 || yo mam dadhati kamaniyatanum rasalah | phullavasamtatilaka latikamivayam || yo batony jimutaraja iva vidyutamullasamti | mar lacitroni Teamta 2 srimansa patu bhagavanaravimdanabhah || 2 || vodeom bhajami bhuvanadharam harakaram param mahah | yasyeva camdrika jyotsna krsna rama virajate || 3 || bate phullapatrasatapatralocana bhaktasaktahrdayadayasarit | and od an oil lalage od sabdasagara vicara caturi heturipsitamira dadatu me || 4 || vaikumthanathapada pamkajalinacitra- rolamba mambaragunagamasiddhabuddhim || samdarsanapradalitakhilakalmasaugha- | narayanam gurumanalpagunam namami || 5 || sriharsodgatabhanyakanyajaladhipronmamthane mamdara- | to cart fle hasn inal
120 Jano om 201 -Coincol moter card mla 10 iscountco 3-04-21301 Studies in Indian Literary History proddamadadbhutasesapesalagira saraprasaraprabhuh || dharadharaka vitvakausalasamullasaprabhavadbhuta | srmgaradirasakula harikavervani samujrmbhate || 6 || to se Amode asti svatikarah samastajagatah ksmapalamaulisphuran | 11 one of west manikyavalikamtikamtacaranah srisambhuprthivipatih | yasya trasyadaratipalanaparasyapiya gaunakaram | piyusam vibudha viniryadamrtam nidamti saudhakaram || 7 || kim varnyah kila saivasya mahima jagatipateh | akarnya yadvadanyatvamitaraistadvitanyate || 8 || karpurapuravisadasvayasah sitasarase | ose aid of state and T brahmamdamamdali yena bhasali kriyatetara || 9 || earsia Jeddanegao zu sa tasyajnayaiva vibudhanpratinaijabhava- | probdodhanaya harina kila tanyatesya kavyasya tu svavihitasya vikasitayam | oymob purbidarfs been anguond pyat veid vyakhya prabheva ravina kamalakarasya || 10 || samdeha samtamasasamharanaikadaksa | nanapadarthanibhrtarthavibodhikeksa || jnatajnadhukabudhako kasusokasaukhya | ap or lifet vidyotini jagati sabhuvilasikakhya || 11 || tasmadbudhah sahrdayah sadaya bhavamtah | pasyamta sadaramimam krtirasmadiyam || dosannirasyatu gunansamudasya hrdyam | kurvamtu cayamudito hi vidam svabhavah 12 || " Verse No. 1 in the above extract viz. " srimangajemdravadana ... sajjiddanam is almost identical with verse No. 2 in the cakrapanikavita extract quoted by me above from a stray folio found in the Ms of sambhurajacarita . So also verse No. 4. viz. " phulapatrasatapatralocana ... dadatu me " is almost identical with verse No. 3 of the cakrapanikavita fragment. It is possible that the brother cakrapani in his enthusiasm to outdo his elder brother may have incorporated these verses from the latter's works without acknowledgement though the elder brother Hari Kavi had better sense of literary veracity as he has cakrapani introduced all verses of his younger brother for with the expression " maskanisthabhratuh cakrapaneh " in his Subhasitaharavali. As this fragment of sambhuvilasika contains a portion of the commentary different from that found in Ms No 828 of 1875-76 it would be useful to
Harikavi alias Bhanubhatta 121 record the references to earlier works and authors noticed by me in my cursory reading of the Ms These references are:- (1) rudrata fol. 3, (2) amarah fol. 5, 6, 7, 10, etc. (3) vagbhata, vamana, damdyadi alamkarikakaraih fol. 3, (4) vagbhate fol. 5, 6, 15, 23, 24, 25, 26, 27, 35, 38, 40, 41, 55, 57, (5) navyamate fol. 5, ( 6 ) vrttaratnakare fol. 5, 69, ( 7 ) skamde fol. 6, (8) padmapurana fol 8, (9) kavacokteh fol 8, 17, (10) kalidasa fol. 8, 12, (11) kalpakavacapamjaradau fol. 8, (12) saradatilaka fol. 10, (13) vartike fol. 10, (14) abhidhanaratne fol. 10, 11, 12, 14 15, 17, 18, 19, 20, 21, 25, 26 28, 30, 32, 33 39, 42, 43, 47, 61, aoilot do a (17) kavivarajagannathatpamditarayapara- namnah kaveh fol. 72, (18) fa: fol. 44, 73, list (19) amaravyakhyane ksirasvamina fol. 73. (20) stavaraje fol. 20, 73, (21) bhasyokteh fol. 14 (22) revakhamde fol. 16, (23) vyasatirthamahatmye fol. 10, (24) vayupurane fol. 18, 19, 20, -18 ( 25 ) srimadbhagavate navamaskamdhe fol. 20, 34, (26) kamasastre fol. 28, 51, 53, (27) haimah fol. 19, 31, 50, (28) valmikikalidasamurarimukhyah kavimdrah fol. 21, (29) mahipah 23, 24, 66, (30) kuvalayanamde fol. 31, (15) saptasatyam fol. 11, (16) acaryaih fol 11, 28 (31) samuccayasara fol 37, (32) taduktam abhijnena fol. 60. The above list of references combined with the list of references in the other fragment of this commentary given previously shows us the range of Hari Kavi's studies and in my opinion justifies the self-conscious and somewhat boastful reference to his capacities and attainments occasionally found in his works noticed above. The hero of haihayendracarita is haihayendra or kartavirya and his identity with King is too transparent for the poet to hide behind apparently godly environment in which he has been put by the poet. The heroine is none other than campa, who appears also to be the heroine of sambhurajacarita as we have seen above in our analysis of this mahakavya . On folio 14 of this Ms the poet apparently discloses the identity of sambhuraja with haihayendra in the following explanation :- "athasvasambhavanakarametatkavyakaranahetubhutasambhunamakarajavisesam slaghamstannagaradikam varnayati puramiti etc. " 16
The poet also refers to c as the af of the poem in the following remarks on folios 29-30 :IT Maft to gain kulasilarupadigunaganasalicampanamakanayikam varnayan " 88 He also refers to this as the beauty of the town of Surat in the following words on folio 50 :- "tatha srimanmihiranagarasya sobhamanasurapurasya, dyotanakaram prakasanakari, sobhasamutpadi- kamityarthah | " This heroine is shown to have attained a marriageable age on folio 31 -- " paramasumdaravarabhilasini .. esa campakhya, sodasavarsiki iti yavat " W 3 have tried to prove from the statements of harikavi in the sambhuraja- carita that narayana was both the guru and father of harikavi . This inference is clearly proved by the following statement of this poet in this commentary:Folio 68 -- " sri narayaneti | srih sarvavidyajnanasobhasampancataya yukto narayanah, 8 tannamako guruh pita ca " We have also seen that Hari Kavi's family came from the Deccan and that both the father and the son were residents of Surat. Here is Hari Kavi's own explanation about his Deccani descent :- -" 1 Folio 68 - " daksinatyesu maharastrabhivadaksinadigbhavabrahmanesu anviyate yujyate iti anya vaso yasyastau " The colophon of Canto I appears as under on folio 68 and it is very important as it discloses for the first time in our study the popular name of the poet, which is bhanubhattah- " iti srisuryapurasthita srimannarayanasurisunu- prasiddhabhanu bhattaparabhidhaharikaviviracitayam svakrta haihayemdra caritakhyakavyavyakhyayam srisambhuvila- sikakhyayam prathamah sargah samaptah ". Perhaps this real name of the poet viz. bhanu bhatta may afford historians a better clue to trace the descendants in this family than the poetic name fa used throughout his works. Throughout this paper we have identified gr with modern Surat. Our identification is supported by Hari Kavi himself for on folio 74 he explains " surasya suryasyedam sauram suratakhya prasiddhabhidhamityarthah " and further he refers to the beauty of Surat in these words :-" tapi- parivaritasurapurasobhaya durlabhatvat iti bhavah . " On folio 75 he explains the reference to mountain in the text of his Kavya :-"mahendrah kaumkanadesasthah kulaparvatah ' " Ms No. 827 of 1875-76-- We now come to the fragment of the text of haihayaindrakavya, the commentary on which we have noticed above in our
Harikavi alias Bhanubhatta 123 analysis of the two available fragments. This Ms consists of 39 folios, folios 1 to 20 comprising canto I and folios 20 to 40 comprising canto II. This poem appears to have been written in a sustained style in the classical fashion and in doing so the poet is apparently influenced by Jagannatha Panditaraya, quotations of whose verses have been given by our poet in the Subhasitaharavali. Here is his appreciation of Panditaraya's poetic composition on folio 21 of the present Ms :- kamalapatalaspharatsphurjanmanoharasaurabho | nmadamadhukara srenisimjasamudgatamadhuri | na hi subhagatam loke vimdatyanekagunadbhutam | kavivarajagannathodamcadvaco racanavaleh || " The poet refers to inverse 8 of this Kavya which begins on folio 2 with:- " nekanutayah " namah srimannarayanagurupadam bhojarajase " and ends .... " prakasamte kamam kavivarakrta On folio 4 the following verses 24 and 25 appear and I find they appear in the safa with identical verse numbers. These verses are:- " ihasinna ruciratanubhajam tribhuvane | a bail om sivakhyo desanamadhipatiranekadbhutagunah | are most yamalokyotphulla dvipulanayanodgirnanimisah | samutkirnabhittavivasamabhavatsarvavanitah || 24 || sudhasimdhum prapya sravanavivaraghadgunamayi- | mimamasmadvaktram kirati maranim vakyasaranim | sudhiro gambhiro vipuladhisanotyamtaramano | oriol to alter I ofte vadanyo nehanyo jagati sivabhupadvijayate || 25 || " The following verse 29 is identical with verse 26 in the sambhurajacarita referred to by us in the beginning of this paper :- " pradipo dipamgadiva gaganaratnadiva maha- 1 mahah pumjapadmadiva paramasauramyanivahah | sudhamsuh ksirabdheriva haritarunamdanavana- | divayam sambhutam kila sivanrpachambhrnrpatih || 27 || " As in the case of the commentary on this Kavya, Hari Kavi states that he got the order of the King Sambhu to compose the haihayendracaritah- " amusyajnam prapya svakasakalaprapaprahataye | tatha saphalyartham lalitalalitanam nijagiram |
adhoes sahasraramsasyapyamarajayi lamkesajayino | eidatiore on varam rajnam rajnasvaritamahamisyatparigrne || 30 || " silf to zieglene Of of I asilof We get more description of the heroine q in this Kavya and her matchless beauty, news of which reached the King who began to pine for her hand:Folio 12 - " kadacittasyasichravanatalaparyamkanilaya | " kulinanalikadyutiharamukhi kapi kamani | samakhya campeti vyagamadiha ya sobhanatamam | tamamsyudyakamtya samayati hi campeyasamaya || 72 || vidhata campakhyam tribhuvanapatakamiva hi yam | vidhayasau kumpam kalayati paranamdajaladhau | " Folio 16 - " itimam nihsima pravaragunagambhiravasati | kuramgaksi srimanmihiranagarodyotanakari | vedi prabhasrenim muktamiva khamanina sviyanagare | of es jaog of T sa raja kasmaccitsamavihitacetah samasrnot || 102 || " folio 17 -- " sa bhupascamdrabhamiva manasi campam paridadhan | na lebhe sarmapi etc. 99 dilw Y cilol 40 Persons interested in the King's welfare got busy and we find a Brahman approaching the King with a letter from Surat from campa 's father- " tada tatrapasyatkaranihitapatram navataram | sa tam vipram srimanmahiranagaradagatamiha || " Canto I ends on folios 20-21 as follows:- " srimatsuryapurasthitihairikavirvidya vinodojjvala- 1 srinarayanasurisunuraviyah saddaksinatyanvayah | adyogadanavadyapadyaracana catu (rya ) vidyotite | taskavye khalu haihayendracarite sargo nisargojjvalah || 134 || pu d of baraster || srimatsuryapurasthita srinarayanasurisunuviracite vijayamke haihayendracaritakhye mahakavye haihayendragunavarnano nama prathamah sargah || " The parentage of q is given in the following verses on folio 22. srikaccha was a King of Surat. In his line was born tapikamta the father of campa, the heroine of the poem. This tapikamta or tapikakamta despatched & letter to offering the hand of it to him through a Brahman messenger, who was his ge, and inviting him to his capital with all his royal paraphernalia: -
Harikavi alias Bhanubhatta 12 125 half to aait " paramiha puram sauram srimallasati visa | 1 to ariana sveda alt nh dorse rucirataya tapibhamgavalivalayavrtam || of hoisted on Jrototaid soil mohi of halgunaita son svad •mi aaforfoa agroled ind amaranagarisobhamamgikaroti yadudbhavam | jagitijagatim yamti gamgam nivesya nijamgane avasadmalah srikachakhyo nrpotravidyavai svajanijagatim tapisevaparayamanasah | surabhirabhitastapi kamtakhyayabhavadudbhatah | || 8 || g slond toda adi ni bsiqmonia red ef collison at ban ivels M subhatanikara sevyastasyam mahonnataya taya || 9 || . naraparivrdhah purvam yobhunmahendrakulacala- 1 sthitiratimahannanaratnakaraprabhuradbhutah || aganita gunodarah saronnato varavikramah | 10 1100 hi finalsvavibhavalavakrida kritalakadhipasevadhih || 10 || 6 kila tanubhava tasyadityodbhavanutisambhava | capalanayana campakhyeyam sakhi mama vartate | iveX A ag 10 - 10 TPE tribhuvanakrta yam nirmaya svanirmi (ta) sobhinim | to awaj ads to oned kanakakamanim svam caturyam param prakatikrtam || 11 || " folio 38 - " srimadattanidhaguruvaresveva vijnaptiyuktah | - - : |" te vi-fits nanasuktom catinatiyutastapikakamtalekhah | " folio 39 ." etacceyam capalanayana campaka sreniramya | adiogorg alival 10 --sa campetyakhya mama hi duhita rajarajaya datta || piterday Live hignsb aid to see all tanme yuyam visadadhisanadharino vijnavarya | manya lokairvipulakarunasimdhavomgikurudhvam || 118 || " SIF 10 PINE - " agamtavyam vibudhamanibhih tam grhitva susainyam " " patrimevam vibudhamukutah samprakasyadidesa »o loau The fragment ends as under :aird, doul Ja 108 10 mahakavye " srinarayanasurito harikavi devyannapurna svayam | yam caluta sudhasa manavacanam satyadapadyasrayam || " 1 purno bhudanavadyapadyaracana caturyavidyotite | taskavye khalu haihayendracarite sargo dvitiyamidhah || srimatsuryapurasthita srinarayanasurisunuharikaviviracite " sode hegaoled glist vijayamke srihaihayendra caritakhye In the last verse of canto II quoted above we find for the first time the name of the mother of Hari Kavi mentioned, which is qui, because the verse states " Annapurna gave birth to Hari Kavi from Narayanasuri."
In the above analysis of all the available fragmentary Mss of Hari Kavi's works we have tried to lay bare some historical information but have not attempted to identify or verify the same from other historical sources. Such an attempt must be made independently by scholars interested in the history of the period to which King Sambhaji belongs. We have attempted in the present study to give a rough sketch of Hari Kavi and his works written under the patronage of King Sambhaji. ALPHABETICAL LIST OF IMPORTANT HISTORICAL NAMES Mentioned by Hari Kavi annapurna - mother of Hari Kavi krsnapamdita or krsna or kavikrsnapamdita the quru of King Sambhaji probably indentical with Kavi Kalasa. campa or campavati -- the heroine of sambhurajacarita and haihayendracarita and the beauty of the town of Surat. cimtamani younger brother of Hari Kavi, famfor-Great Grand-father of Hari Kavi. at river at Surat. - tapikamta -- father of campa, the heroine of sambhurajacarita and haihayendracarita . datta -- Brahman messenger sent by tapikamta with a letter proposing the marriage of his daughter q with King Sambhaji. narayana Or narayanasuri - The guru and father of Hari Kavi. jagannatha ( pamditaraya ) -- apppreciated and quoted by Hari Kavi. father narayana . 11 Uncle of Hari Kavi and elder brother of Hari Kavi's -popular name of Hari Kavi. --mentioned by Hari Kavi as the province to which his family belonged. mihiranagara Or mihirapattana or tapananagara or tapanapattana - Same as suryapura or Surat. Grand-father of Hari Kavi. - sambhu, sambhuraja, sambhunrpati - identical with the Maratha King Sambhaji, son of Shivaji the Great. sambhurajacarita composed in A. D. 1685 by Hari Kavi by the order of krsnapamdita, the guru of King Sambhaji (sambhuraja ). audate 98:57
Harikavi alias Bhanubhatta 127 sivabhupa or siva - father of sambhuraja or Sambhaji, identical with Shivaji the Great. srikaccha ancestor of tapikamta of Surat, father of campa . 11 satyadasa - the Governor of Surat ( called tapanapattanadhipati in the sambhurajacarita ). subhasitaharavali - an encyclopaedic anthology compiled by Hari Kavi. suryajasevaka or tapanajadasa - father of campa in sambhurajacarita, perhaps identical with tapikamta . ast suryapura or surapura or surata - identical with modern Surat, town of Hari Kavi's residence. harikavi (alias bhanubhatta ) - author of sambhurajacarita, haihayendracarita and com mentary, and subhasitaharavali . - haihayendracarita - a mahakavya composed by Hari Kavi by order of King Sambhaji. haihayendracaritatika - called sambhuvilasika composed by Hari Kavi by order of King Sambhaji. 996 bag