Kumarsambhava Balavbodh

Here's a comprehensive summary of the provided Jain text, "Kumarsambhava Balavbodh" by H.C. Bhayani, based on the given pages:

Overview of the Text:

This document is a Balavbodh (a simplified commentary) on the opening verses of Mahakavi Kalidasa's Kumarsambhava, a famous Sanskrit epic poem. The work is presented as an incomplete manuscript, meticulously copied by the late H.C. Bhayani. The commentary itself is based on a Sanskrit commentary.

The introductory note highlights that the manuscript begins with "Aham Namah," suggesting it was likely transcribed by a Jain muni. It praises the generosity and courage of Jain monks for engaging with and annotating texts from authors whose philosophies might not align with their own. A specific linguistic observation is made about the use of "Kiri" (meaning "kill" or "indeed") and "Rahitaḥ" (meaning "remained" or "stayed") as specific usages in Jain Sanskrit. The note also expresses that this publication serves as a tribute to Acharya Hemachandra, and by extension, a remembrance of H.C. Bhayani himself, bringing "double joy."

Content Breakdown:

The text focuses on explaining the initial verses of Kumarsambhava, particularly the description of the Himalaya mountain.

• Verse 1: Description of Himalaya

  • The commentary begins with the first verse of Kumarsambhava: "Astyuttarasyām dishi devatatma Himālayo nāma nagādhirājaḥ | Pūrvāparau toyanidhī vigāhya sthitaḥ pṛthivyā iva māna-daṇḍaḥ ||" (In the Northern direction, there is the divine-souled Himalaya, the king of mountains. Spanning the eastern and western oceans, it stands like a measuring rod for the Earth.)
  • Explanation of "Nagādhirājaḥ": The term is broken down to mean "king of mountains" (Naga = mountain, Adhiraja = king).
  • The concept of "Devatatma": The Himalaya is described as "Devatatma" (divine-souled), meaning it is of the nature of a god. This divine essence is linked to its deserving a share in sacrifices, similar to other gods.
  • Himalaya as a "Māna-daṇḍa" (Measuring Rod): The poetic simile of Himalaya being a measuring rod for the Earth is explored. It suggests that just as a measuring rod has a defined length, the Himalaya's grandeur defines the Earth's expanse.
  • Origin of the name "Himalaya": The name is interpreted not just as "abode of snow" (Hima + Alaya) but also as the "abode of Lakshmi" (Mā + Alaya), signifying its immense wealth and beauty.

• Verse 2: The Earth being milked

  • The second verse is introduced: "Yaṁ sarva-śailāḥ parikalpya vatsaṁ merau sthite dogdhari dakṣe | Bhāsvanti ratnāni mahauṣadhīśca pṛthūpadiṣṭāṁ duduhur-dharitrīm ||" (All mountains, considering the Himalaya as its calf, milked the Earth, yielding luminous jewels and great medicinal herbs, as directed by King Prithu.)
  • The Metaphor of Milking: The core metaphor is explained: the Earth is like a cow, the Himalaya is the calf, and the mountains are the milker.
  • What was milked?: The Earth yielded jewels (Ratnani) and great medicinal herbs (Mahauṣadhīḥ). Examples of such medicinal herbs like Shilāvijaya, Amṛta-sañjīvanī, and Vraṇa-saṁrohiṇī are alluded to.
  • The "Dogdha" (Milker) and "Daksha" (Skilled): Mount Meru is identified as the skillful milker.
  • The "Prithūpadiṣṭā" (Directed by Prithu): The Earth was milked as directed by King Prithu, implying his role in organizing the extraction of these valuable resources.
  • Involvement of other entities: The commentary further elaborates that not just mountains, but also Rishis, Suras, Asuras, Pitris, Nagas, Yakshas, Rakshasas, Gandharvas, and trees also participated in this "milking" based on Prithu's instructions. This reinforces the idea of a collective effort to derive value from the Earth.
  • "Bhāsvanti" (Luminous): The jewels are described as luminous. The adjective "Bhāsvanti" is applied to both jewels and herbs, with a note on grammatical ellipsis ("bhāsvatyō" becoming "bhāsvanti" due to neuter singularization).

• Verse 3: Snow not diminishing Himalaya's beauty

  • The third verse is discussed: "Ananta-ratna-prabhavasya yasya hīmaṁ na saubhāgya-vilopi jātaṁ | Eko hi doṣo guṇa-sannipāte nimajjatiṁdoḥ kiraṇeṣv-ivāṅkaḥ ||" (For him, the source of infinite jewels, snow did not become an impediment to his beauty. Indeed, a single fault dissolves in a multitude of virtues, like a spot on the moon dissolving in its rays.)
  • Himalaya's Wealth: The Himalaya is characterized as the source of infinite jewels.
  • Snow as a potential flaw: Snow (Hima) is presented as a potential flaw that could mar the mountain's beauty.
  • Virtue overshadowing flaw: The core idea is that the snow did not diminish the Himalaya's beauty. This is compared to a spot on the moon (Anka) being insignificant when seen amidst the moon's bright rays (Kiran). The commentary emphasizes that even a single fault is absorbed in a collection of virtues.
  • Poet's perspective on flaws: The commentary includes a remark from the poet (or possibly an interjection) that "even a single flaw that steals a collection of virtues" is not always seen. This might be a subtle commentary on the nature of flaws or a specific observation by the poet.

• Verse 4: Himalaya adorned with mineral colors

  • The fourth verse is presented: "Yaśchāpsarovi-bhrama-maṇḍanānāṁ sampādayitrīṁ śikhair-bibharti | Balāhaka-ccheda-vibhakta-rāgām-akāla-sandhyām-iva dhātumattāṁ ||" (Which bears on its peaks, the cause of adornment for the sportive movements of Apsaras, a mineral richness that, like an untimely twilight, is colored by the fragmentation of clouds.)
  • Himalaya's "Dhātumattā" (Mineral Richness): The Himalaya possesses mineral richness (Dhātumattā) on its peaks (Śikhaiḥ).
  • Source of Apsara Adornment: This mineral richness is described as the cause of adornment (Sampādayitrīm) for the sportive movements and ornamentation of Apsaras (Apsarovi-bhrama-maṇḍanānām). This implies the minerals are used as pigments or decorative elements by celestial nymphs.
  • Poetic Simile: The mineral richness is poetically compared to an untimely twilight (Akāla-sandhyām).
  • Explanation of the simile: The twilight simile is explained: clouds (Balāhaka) fragment (ccheda) and in these fragments, colors are distributed (vibhakta-rāgām). This fragmentation and coloring of clouds in the sky resemble the varied mineral colors on the mountain's peaks. The commentary notes that this is an "Utpreksha" (a poetic figure of speech, often a fancied comparison) rather than a simile ("Upama"). The idea is that the mountain's colors appear like an untimely twilight.
  • Apsaras' actions: The commentary elaborates that Apsaras, seeing the clouds scattered with color, might think, "Let's do adornment at an untimely hour" (referring to the mountain's colors resembling twilight). The phrase "Akālagrahaṇena" suggests that this color is constantly present, not just at a specific time.

• Verse 5: Siddhas taking shelter

  • The fifth verse is presented: "Āmekhalaṁ sañcaratāṁ ghanānāṁ chāyāmadhaḥ-sānu-gatāṁ niṣevya | Uddhejita vṛṣṭibhir-āśriyante śṛṅgāṇi yasyātapa-vanti siddhāḥ ||" (The Siddhas, scorched by rains while moving around the lower slopes, take shelter on its peaks that are bathed in sunlight.)
  • Siddhas taking shelter: The verse describes Siddhas (divine beings or accomplished individuals) seeking refuge.
  • Reason for seeking shelter: They are "Uddhejita vṛṣṭibhiḥ" (scorched or troubled by rains).
  • Where they seek shelter: They seek shelter on the peaks (Śṛṅgāṇi) of the Himalaya.
  • Nature of the peaks: These peaks are "Ātapa-vanti" (bathed in sunlight).
  • Context of their movement: The Siddhas are described as "Āmekhalaṁ sañcaratāṁ" (moving around the lower slopes/hips) of the mountain. The "ghanānāṁ" refers to clouds. So, they are moving around the clouds on the lower slopes. The commentary clarifies that they are moving around the clouds on the mountain's lower reaches, and their shadows fall on the slopes. They enjoy these shadows, and when troubled by rain, they seek the sunlit peaks.

Overall Significance:

The "Kumarsambhava Balavbodh" is a scholarly yet accessible attempt to explain the grandeur and poetic artistry of Kalidasa's epic. The commentary, though brief, delves into the nuances of the Sanskrit text, its metaphors, and its philosophical underpinnings. The Jain context, particularly the attribution to Jain munis and the highlighting of Jain Sanskrit characteristics, adds a unique layer to this exploration of a classical Hindu epic. It showcases a tradition of intellectual engagement and appreciation that transcends sectarian boundaries.