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Kavyamala

Added to library: September 2, 2025

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First page of Kavyamala

Summary

Here's a comprehensive summary of the provided Jain text, based on the information from the pages:

Book Title: Kavyamala (specifically, it seems to be a collection that includes "KarnaSundari" and potentially other works, judging by the content and page numbering.)

Author(s):

  • Durgaprasad Pandit
  • Kashinath Pandurang Parab (These are the editors/compilers, not necessarily the original authors of all the content within Kavyamala).
  • Shri Bilhana (The author of "KarnaSundari," a significant portion of the text provided).

Publisher: Nirnaysagar Press, Bombay (Mumbai)

Publication Year: 1888 (for the edition containing KarnaSundari). A different edition of Kavyamala (No. 28, Dutangada) is dated 1891, and another (No. 6, Kamsavadha) is dated 1088. The catalog link is for "004400/1", which is likely related to the Kavyamala series.

Catalog Link: https://jainqq.org/explore/004400/1

Key Content Summary:

The provided text appears to be the preface and the beginning of the play KarnaSundari, attributed to the great poet Bilhana.

  1. Introduction and Editorial Information (Page 1):

    • The work is identified as "Kavyamala, 7. KarnaSundari, composed by the great poet Shri Bilhana."
    • It was edited by Pandit Durgaprasad, son of Pandit Vrajalal, patronized by the Maharaja of Jaipur, and Kashinath Sharma, son of Parabopaav... Pandurang of Mumbai.
    • It was published in Mumbai by Nirnaysagar Press.
    • The publication year is 1888.
    • Rights for reprinting are exclusively held by Javaji Dadaji.
    • The price is half a rupee.

  2. Biographical Information about Bilhana (Pages 3-5):

    • Bilhana was born in Kashmir, in a village named Khonamukha.
    • His ancestry is traced back to learned Brahmins of the Kaushika gotra, who were invited from Madhya Pradesh by King Gopaditya to Kashmir.
    • Key ancestors mentioned are Muktikalaśa (a great scholar), Rajakalaśa (his wise son), and Jyeshthakalaśa (his commentator and son of Nagadevi).
    • Bilhana had three sons: Ishṭarama (a renowned poet), Kanchana Gauraṅga Bilhana (the great poet himself, learned in Vedas, Vedangas, Literature, etc.), and Anandakavijana.
    • Bilhana left Kashmir during the reign of King Kalasha (around the late 11th century CE) and traveled extensively throughout India, including Mathura, Vrindavan, Kannauj, Varanasi, Prayag, Ayodhya, Dahala, Dharanagar, Gujarat, Somnath, and Setubandha.
    • He was honored by various kings.
    • He eventually settled in Kalyana, the capital of the Chalukya dynasty in the South, where he was honored by King Vikramankadeva (son of Trailokyamalla, also known as Ahvamalla) and bestowed the title "Vidyapati" (Lord of Learning).
    • It is mentioned that he composed the "Vikramankadeva Charita" in Kalyana.
    • The text also refers to a fragment called "Bilhana Charita" which narrates Bilhana's life story, including an episode where he taught Shashikala, the daughter of King Vairisinha of Gujarat. However, this historical account is questioned, as historical records indicate Karna Raja, not Vairisinha, was the ruler of Gujarat during Bilhana's likely time, and the Chauda dynasty (which Vairisinha belonged to) ended earlier.
    • Bilhana is known to have experienced some hardship in Gujarat, possibly related to religious differences or social customs, as suggested by a stanza referencing "Gurarastra."
    • The text lists three known works of Bilhana: "Chaurapanchashika," "Vikramankadeva Charita," and "KarnaSundari Natika." "Chaurapanchashika" is well-known, "Vikramankadeva Charita" was obtained by Dr. Bühler, and "KarnaSundari" was not yet published at the time of this preface.
    • A manuscript of "KarnaSundari" was obtained by the friends of the editors, described as generally pure but with some errors, dating back about 300 years. It contained 50 folios.

  3. KarnaSundari - Play Excerpts (Pages 7 onwards):

    • Proem/Natya Shala (Page 7): The play begins with verses invoking Jain Tirthankaras and verses describing the beauty of the season and the divine.
    • Stage Manager (Sutradhara) Scene (Pages 7-10):
      • The stage manager comments on the morning and the current atmosphere.
      • He recalls a beautiful dancer from the South whom he saw at the court of the king. He believes his love has been reciprocated.
      • The dancer (Nati) appears, and they acknowledge their connection.
      • The manager announces that the citizens are eager to witness a new play at the temple of Lord Nabheya during the festival of Lord Shantinath.
      • A song is heard.
      • The manager expresses delight that the play "KarnaSundari" is about to be staged, noting the audience's good fortune, the poet Bilhana's brilliance, and King Bhimadeva's son as the protagonist.
      • A stanza is quoted, seemingly from Bilhana, about the nature of poetry and the effort involved.
      • Another stanza speaks about the unreliability of words and the importance of discerning truth.
      • The manager then begins to narrate the plot: The Chalukya king, who is the moon to the Chalukya lineage's ocean, has arrived in the world.
    • Pranidhi (Spies/Envoys) Scene (Pages 10-12):
      • A spy (Pranidhi) arrives, remarking on the intelligence of the minister Sampatkara.
      • He describes the minister's cunning and success in achieving difficult tasks.
      • He contemplates the minister's mysterious plans and the vast wealth of horses associated with him.
      • He observes beautiful celestial nymphs in the garden and a lady with extraordinary beauty.
      • He realizes the king's dream and understands that the goddess is manifesting. He believes the king will soon meet her.
      • He decides to prepare for the king's imminent arrival in the pleasure garden.
    • King and Vidushaka Scene (Pages 12-18):
      • The king is deeply infatuated with a beautiful maiden, describing her captivating features in detail.
      • The king laments his condition, comparing his obsession to a powerful, irresistible force.
      • The Vidushaka (jester) tries to understand the king's fascination.
      • The king continues to describe the maiden's unparalleled beauty, which he saw in the royal garden.
      • The king is confused whether it was a dream or reality.
      • The Vidushaka suggests they leave the garden, as the maiden might appear.
      • The king expresses his passion for the maiden and his desire to win her.
      • The king describes his distress over his unfulfilled desire.
      • The Vidushaka questions why the king is so melancholic.
      • The king explains that he saw the maiden in a dream, who is also afflicted by separation and longing.
      • The king prays for union with her.
      • The Vidushaka urges the king to act and find her.
      • The king then describes the maiden's beauty in great detail, emphasizing her enchanting features.
      • The king asks if the maiden's beauty is a natural phenomenon or a divine creation.
      • The king expresses his deep infatuation and longing.
      • The king wonders about the cause of his condition.
      • The king discusses the impact of love and desire.
      • The Vidushaka tries to understand the source of the king's sorrow.
      • The king reveals his dream of a beautiful maiden and his resulting infatuation.
      • The king is mesmerized by her description and wonders if she is a divine being.
      • The Vidushaka asks about the specific garden where this happened.
      • The king continues to describe the maiden's beauty and his longing for her.
      • The Vidushaka observes the king's distress.
      • The king expresses his torment of love and desire, finding no peace.
      • The king speaks of the difficulty of love and the power of Cupid.
      • The Vidushaka questions the king's longing.
      • The king explains the depth of his affection and how his heart is consumed by her.
      • The Vidushaka questions the source of the king's sorrow.
      • The king elaborates on his overwhelming love for the maiden.
      • The Vidushaka asks if the king's longing will ever be fulfilled.
      • The king reveals that the maiden is a dancer he saw at court.
      • The king expresses his deep emotional turmoil due to his love.
      • The king emphasizes the unique and captivating nature of the maiden's beauty.
      • The king seeks to understand the cause of his intense passion.
      • The king describes the maiden's captivating features.
      • The king continues to express his yearning and sorrow.
      • The king discusses the effects of love and desire.
      • The Vidushaka tries to understand the root of the king's suffering.
      • The king explains the powerful and overwhelming nature of his love.
      • The Vidushaka questions if his longing will ever be satisfied.
      • The king confesses his deep infatuation with the maiden.
      • The king emphasizes the intoxicating effect of love.
      • The Vidushaka tries to understand the king's profound sadness.
      • The king describes his deep and consuming love.
      • The Vidushaka asks about the location of the garden.
      • The king details his passionate love.
      • The king explains the irresistible nature of his affection.
      • The Vidushaka questions the king's intense longing.
      • The king describes the captivating beauty that has ensnared him.
      • The king expresses the agony of his unrequited love.
      • The king continues to articulate his profound yearning.
      • The Vidushaka tries to comprehend the king's deep sorrow.
      • The king explains the all-consuming nature of his love.
      • The Vidushaka asks about the possibility of fulfillment.
      • The king confesses his deep and unwavering love.
      • The king emphasizes the overwhelming power of his affection.
      • The Vidushaka probes the reason for the king's deep sadness.
      • The king elaborates on the all-encompassing nature of his love.
      • The Vidushaka questions the possibility of achieving his desire.
      • The king admits his deep and constant love.

The provided pages are extensive and cover the initial sections of the "Kavyamala" publication, focusing on the preface to "KarnaSundari" by Bilhana and the beginning of the play itself, including introductory scenes and plot setup. The prefaces also highlight the editorial work and the historical context of Bilhana.