Kiratarjuniyam

This document is the introductory section and the first canto of the Kiratarjuniya, a Sanskrit epic poem by the poet Bharavi. The text is presented with a commentary by Dr. Virendra Kumar Varma, published by Jamuna Pathak, Varanasi.

Here's a summary of the provided content:

1. Title and Author:

• Book Title: Kiratarjuniyam
• Author: Bharavi Mahakavi (as the original author)
• Commentator: Dr. Virendra Kumar Varma
• Publisher: Jamuna Pathak, Varanasi
• Publication Year: 1978 (implied by the context and date on page 2)

2. Introduction (Bhumika):

• Life of Bharavi: The introduction highlights that Bharavi, like many Sanskrit poets, did not write about his personal life. Information about him is scarce and primarily derived from his sole surviving work, the Kiratarjuniya. The text provides biographical details based on the Avantisundarikatha, suggesting he belonged to the Kaushika dynasty and was known as Damodar. He was friends with Vishnuvardhana of the Chalukya dynasty, then with Durvinita, and later received patronage from Pallava king Vishnu. It's also mentioned that the great poet Dandin was Bharavi's great-grandson.
• Religious Affiliation: The Kiratarjuniya frequently praises Lord Shiva and mentions Vishnu less. The detailed description of Arjuna's prayer to Shiva at the end of the 18th canto suggests that Bharavi was a devout Shaivite, contrasting with Magha, who was a Vaishnavite.
• Time of Bharavi: Establishing Bharavi's exact time is difficult, but several pieces of evidence are presented:
  • The Aihole inscription (634 CE) mentions both Kalidasa and Bharavi.
  • An inscription from Gumareddipura indicates King Durvinita wrote a commentary on the 15th canto of Kiratarjuniya, placing Durvinita around 580 CE.
  • Jayaaditya quotes Kiratarjuniya in his Kashikavritti (dated around 660 CE by Max Müller).
  • Bana Bhatta (7th century), who mentioned most previous poets, does not mention Bharavi, suggesting Bharavi might not have achieved fame by Bana's time. Keith places Bharavi around 550 CE.
  • Many scholars like Jacobi, Macdonell, and Baldev Upadhyay place Bharavi around 600 CE.
  • The consensus places Bharavi between 550 CE and 600 CE.
• Bharavi's Sole Work - Kiratarjuniya:
  • The plot is taken from the Mahabharata.
  • It has 18 cantos and describes the battle between Arjuna and Shiva (in the guise of a Kirata - a hunter) for divine weapons (Pashupatastra).
  • The name Kiratarjuniya is derived from the combination of "Kirata" and "Arjuna."
  • The plot summary explains the context: Pandavas in exile, Yudhisthira sending a spy, Draupadi's instigation to fight, Vyasa's instruction to Arjuna to perform penance, Indra's attempts to distract Arjuna, Arjuna's rigorous penance, Shiva's test as a Kirata, the duel between Arjuna and Shiva, and Arjuna's eventual victory and receipt of the Pashupatastra.

3. Kiratarjuniya - A Successful Mahakavya:

• Definition of Mahakavya: The text outlines the characteristics of an epic poem according to Sanskrit rhetoricians, dividing them into primary and secondary.
  • Primary: Historical or legendary plot, a noble and virtuous hero (like a god or royal Kshatriya), and a dominant sentiment (Shringara, Veera, or Shanta rasa).
  • Secondary: Opening with blessings or invocations, chapters named "Sarga," 8-19 cantos, consistent meter with variations in the last few verses, a description of the next canto's content, descriptions of various elements (evening, sun, moon, night, sea, lovers' union/separation, sages, heaven, city, sacrifices, battles, travel, weddings), natural progression of the plot, and well-structured "Sandhis" (sections).
• Kiratarjuniya as a Mahakavya: The text confirms that Kiratarjuniya fulfills these criteria, drawing its plot from the Mahabharata, featuring Arjuna as the hero, and emphasizing Veera rasa. It has 18 cantos and includes detailed descriptions of seasons, sunrises, sunsets, mountains, rivers, etc., aligning with the conventions of an epic.

4. Review of Mahakavi Bharavi and his Poetry:

• Bharavi's Place Among Poets: Bharavi is placed after Kalidasa and Ashvaghosha among epic poets, possibly holding the second position after Kalidasa. The Aihole inscription further supports his high standing.
• Bharavi's Sole Work - Kiratarjuniya: Bharavi achieved significant fame with just this one epic. It holds a prominent place in the "Brihattrayi" (Great Trilogy) of Sanskrit epics.
• Qualities of Bharavi's Poetry: The text lists several esteemed qualities: elevated and vivid descriptions, charming imagination, depth of meaning ("Artha Gaurava"), captivating word choice, melodious phrasing, touching dialogues, masterful use of figures of speech, artistic style, beautiful nature portrayal, delicate handling of sentiments, and lively character portrayal. Bharavi demonstrated expertise in grammar, Vedanta, logic, dharma, politics, Kama Shastra, Puranas, and history.
• "Upama Kalidasasya, Bharave: Arthagauravam...": This famous verse is discussed, highlighting Kalidasa's excellence in similes, Bharavi's in the depth of meaning, and Dandin's in sentence structure. Bharavi's style of conveying profound meaning in few words, like filling an ocean in a pitcher, is his hallmark. His words are compared to coconuts – hard shells (difficult words) but sweet fruit (profound meaning) inside.
• Bharavi's Poetic Principles (from the 2nd canto): Bharavi's ideal for poetry includes clarity in words, depth of meaning, distinct word meanings (yet related), and absence of ambiguity.
• Artha Gaurava (Depth of Meaning) as both Strength and Weakness: While this depth is a strength, it also makes his poetry somewhat difficult, especially the first three cantos, known as the "Pashana Traya" (Stone Triad).
• Suktis (Aphorisms): Bharavi's poetry is rich in aphorisms containing eternal truths, life lessons, political insights, and profound experiences. Examples include "Hitam manohari cha durlabham vachah" (A word that is both beneficial and pleasant is rare).
• Politics, Ethics, and Worldly Conduct: Bharavi's deep knowledge of politics and ethics, honed by his connections with royalty, is evident in his work. The spy's (Vanachara) account and Draupadi's fiery words are prime examples of this.
• Nature Description: While not as charming as Kalidasa's, Bharavi's nature descriptions are impactful. He shows a tendency towards artificiality, but his description of autumn in the 4th canto is natural and poignant.
• Characterization and Dialogue: Bharavi excels in character portrayal through engaging dialogues, revealing the distinct qualities of characters like the loyal spy, the anguished Draupadi, the heroic Arjuna and Bhima, and the wise and peace-loving Yudhisthira.
• Language: Bharavi has complete mastery over language, evident even in his complex "Chitrabandha" (pictorial poems). He avoids overly long compounds compared to Magha and Sriharsha. His ideal language is pure, pleasant to the ears, pleasing even to enemies, and imbued with seriousness and clarity. He adapts his vocabulary to the context – gentle for romance, and vigorous for battle.
• Grammar: Bharavi exhibits his grammatical prowess, sometimes to an excessive degree, setting a precedent for poets like Bhatti, Magha, and Sriharsha.
• Style (Vichitra Marga): Bharavi introduced a new style characterized by a minimal plot and extensive descriptions. While Kalidasa's epics have expansive plots, Bharavi stretches a relatively simple story over 18 cantos by dwelling extensively on descriptions, which can sometimes slow down the narrative flow and bore the reader. This style emphasizes scholarly display and ornamentation over the emotional aspect.
• Three Qualities of Speech (Kiratarjuniya 1.3):
  1. Shabda Saundarya (Word Beauty): Beautiful words capable of expressing emotions.
  2. Artha Gamiirya (Depth of Meaning): Conciseness, conveying much with few words.
  3. Artha Vinischaya (Certainty of Meaning): Authentic, unambiguous statements.
• Writing Style: Bharavi's style is a blend of Vaidarbhi and Gaudi styles, lacking the simplicity of Kalidasa's Vaidarbhi but not adopting the heavily compound-based Gaudi style of Magha.
• Figures of Speech and Artificiality: Bharavi skillfully uses numerous figures of speech (Upama, Rupaka, Utpreksha, etc.). However, his excessive fondness for them sometimes leads to artificiality, as seen in "Chitra Kavya" (picturesque poetry) with complex wordplay and structural designs.
• Meter: Bharavi utilizes a variety of meters, more than Kalidasa and Magha. He uses Vanshastha meter particularly well.
• Rasas (Sentiments): Bharavi is a master of Veera rasa, especially evident in Bhima's speeches. He also effectively describes Shringara rasa.
• Poetic Flaws: The text acknowledges that no human creation is flawless. Bharavi's main flaws include his excessive display of scholarship, fondness for verbal wit and elaborate ornamentation, which leads to artificiality and weakens the emotional aspect of his poetry. His lengthy, unnecessary descriptions can also be tedious.

5. First Canto Summary (Prathama Sarga ki Katha):

The first canto is divided into two parts: the spy's (Vanachara) speech and Draupadi's speech.

• Part 1: The Spy's Speech:
  • The spy, sent by Yudhisthira to assess Duryodhana's reign, returns to the Pandavas in Dwaita forest.
  • He describes Duryodhana's excellent governance: dispensing justice according to Manu, diligently working day and night, treating servants like friends, friends like relatives, and relatives like himself. Duryodhana balances Dharma, Artha, and Kama, skillfully using diplomacy (Sama, Dana, Danda, Bheda). He rewards merit, punishes impartially, and maintains a secure kingdom with loyal guards. His policies have led to prosperity and contentment among his subjects. The spy concludes by stating that Duryodhana is wary of the Pandavas' return and takes precautions.
• Part 2: Draupadi's Speech:
  • Upon hearing of Duryodhana's prosperity, Draupadi is filled with anguish and anger.
  • She chastises Yudhisthira for his passivity and inaction. She compares his relinquishing of the kingdom to an elephant discarding a flower garland.
  • She criticizes those who don't retaliate against deceitful people, as such individuals exploit the innocent.
  • She laments the plight of Bhima, Arjuna, Nakula, and Sahadeva, forced into hardship.
  • She questions Yudhisthira's intelligence and wisdom, contrasting his current suffering with his past comforts.
  • She urges him to abandon peace and embrace Kshatra Teja (warrior's valor) to destroy the enemy, stating that only sages achieve success through peace, not kings. She implores him to act rather than wait for a favorable time, reminding him that kings often break treaties for victory.

6. First Canto Verses (with commentary):

The document then provides the verses of the first canto with word-by-word Sanskrit explanations (Anvayartha), Hindi translations, and detailed commentaries (Tippani and Ghantapatha) on grammar, vocabulary, literary devices, and the philosophical context of each verse. This section systematically breaks down the meaning and significance of each of the 46 verses of the first canto.

In essence, the provided text is a scholarly edition of the beginning of a major Sanskrit epic, offering both the original text and a comprehensive analysis intended for understanding its literary, historical, and philosophical dimensions.