Kirti Kaumudi Me Prayukta Chanda

Here's a comprehensive summary of the Jain text "Kirti Kaumudi me Prayukta Chanda" by Ashok Kumar Singh, based on the provided pages:

This text is a study of the meters (chandas) used in the epic poem 'Kirti Kaumudi' composed by Somesvaradeva. The author, Ashok Kumar Singh, analyzes the metrical structure of the work, highlighting its significance in historical epic poetry.

The Epic Poem 'Kirti Kaumudi':

• Author: Somesvaradeva, a talented poet and priest to Lavanaprasada and Viradhavala of the Gujarat Baghela dynasty.
• Subject: The poem is a eulogy of Vastu­pala, the minister of the Chalukya king Bhimadeva. Somesvaradeva was deeply impressed by Vastu­pala's friendship, valor, literary talent, and fame, leading him to compose 'Kirti Kaumudi' and other eulogistic works.
• Historical Significance: The poem holds importance in historical epics because its hero, Vastu­pala, was a contemporary and close friend of the poet. This contemporaneity lends historical authenticity to the work.
• Structure: 'Kirti Kaumudi' comprises nine cantos (sargas) and contains a total of 722 verses (shlokas). The cantos are:
  1. Nagara Varnana (Description of the City)
  2. Narendra Vamsha Varnana (Description of the Royal Lineage)
  3. Mantra Pratishtha (Consecration of Mantras)
  4. Duta Samagama (Assembly of Messengers)
  5. Yuddha Varnana (Description of War)
  6. Pura Pramoda Varnana (Description of the City's Joy)
  7. Chandrodaya Varnana (Description of the Moonrise)
  8. Paramartha Vichara (Consideration of the Ultimate Truth)
  9. Yatra Samagama (Journey and Assembly)

Metrical Analysis (Canto by Canto):

The text then proceeds to detail the meters used in each canto, providing definitions (lakshana) and examples from 'Kirti Kaumudi':

• Canto 1 (Nagara Varnana - 81 shlokas):

  • Starts with 76 shlokas in Anushtup meter.
  • The remaining shlokas (77-81) use Upendravajra, Upajati, Pushpitagra, Malini, and Shardulavikridita meters.
  • Definitions and examples for Anushtup, Upendravajra, Upajati (a combination of Indravajra and Upendravajra), and Pushpitagra are provided.

• Canto 2 (Narendra Vamsha Varnana - 115 shlokas):

  • Begins with 81 shlokas in Anushtup.
  • Other meters used include Shalini (18 shlokas), Indravajra (3 shlokas), Vasantatilaka (12 shlokas), and Malini (the final shloka).
  • Definitions and examples for Shalini, Vasantatilaka, and Vanshastha are given.

• Canto 3 (Mantra Pratishtha - 79 shlokas):

  • The first 50 shlokas are in Anushtup.
  • Followed by Rathoddhata (23 shlokas), Shalini (2 shlokas), Vanshastha (1 shloka), Shikharini (1 shloka), Malini (1 shloka), and Pushpitagra (1 shloka).
  • Definitions and examples for Rathoddhata, Vanshastha, and Shikharini are presented.

• Canto 4 (Duta Samagama - 91 shlokas):

  • The initial 41 shlokas are in Anushtup.
  • Vasantamalini (or Vasantamalika) is used for 47 shlokas (42-88).
  • Vasantatilaka, Shardulavikridita, and Pushpitagra are used for the final three shlokas respectively.

• Canto 5 (Yuddha Varnana - 68 shlokas):

  • Shlokas up to 62 are in Anushtup.
  • Vasantatilaka is used for shlokas 63-67.
  • The final shloka is in Harini meter.
  • The definition and example for Harini are provided.

• Canto 6 (Pura Pramoda Varnana - 56 shlokas):

  • Notably, this canto does not use Anushtup, the primary meter of the work. This deviation is seen as aligning with the poetic tradition where a canto can be composed in various meters.
  • The majority of shlokas are in Upajati.
  • Eight shlokas deviate from Upajati, with Indravajra used for some, and the last two shlokas of the canto are in Shardulavikridita.
  • Praharsini meter is also mentioned, with its definition and example provided.

• Canto 7 (Chandrodaya Varnana - 83 shlokas):

  • The first 53 shlokas are in Anushtup.
  • Upajati is used for shlokas 54-56 and 59-72.
  • Indravajra is used for shlokas 57-58.
  • Pushpitagra is used for 76, 80, and 81.
  • Shardulavikridita is used for 82-83.
  • Vasantatilaka is used for 73.
  • Praharsini is used for 78.
  • Drutavilambita is used for 74 and 79.
  • The definition and example for Drutavilambita are provided.

• Canto 8 (Paramartha Vichara - 71 shlokas):

  • The initial 56 shlokas are in Anushtup.
  • The remaining shlokas are distributed among Pushpitagra (12 shlokas), Shalini (1 shloka), Praharsini (1 shloka), and Shardulavikridita (the final shloka).

• Canto 9 (Yatra Samagama - 78 shlokas):

  • Similar to the sixth canto, this canto does not use Anushtup.
  • The majority of shlokas are in Upajati.
  • Eight shlokas (numbers 2, 4, 15, 20, 24, 43, 45, and 65) are in Indravajra.
  • Shlokas 74-76 are in Vasantatilaka.
  • The final two shlokas of the entire work are in Shardulavikridita.

Overall Conclusion on Metrical Usage:

• The study reveals that Anushtup is the most frequently used meter in 'Kirti Kaumudi'.
• Following Anushtup, the poet's favored meters were Upajati and Vasantatilaka.
• The extensive use of Anushtup suggests Somesvaradeva's intention to give the work the form of a mahakavya (epic poem).
• The text references the characteristics of a mahakavya from Vishvanath's 'Sahitya Darpana', noting that epics often employ a single meter predominantly, with different meters at the end of verses or cantos. Some cantos may also feature a variety of meters.
• Cantos 6 and 9 of 'Kirti Kaumudi' fit this latter description as they avoid Anushtup.
• The author concludes that Somesvaradeva employed the meters in 'Kirti Kaumudi' with a deliberate plan and was successful in his execution.