Naishadh Mahakavyam Purvarddham

This is a comprehensive summary of the provided Jain text, specifically focusing on the content of the "Naishadh Mahakavyam Purvarddham" as presented by the Chaukhambha Sanskrit Series Office, Varanasi, edited by Hargovinddas Shastri. The summary is based on the provided pages, highlighting the introductory sections and the beginning of the text.

Book Title: Naishadh Mahakavyam Purvarddham Author: Hargovinddas Shastri Publisher: Chaukhambha Sanskrit Series Office, Varanasi Catalog Link: https://jainqq.org/explore/032781/1

Overall Summary:

The provided text is an introduction and the initial portion of the "Naishadh Mahakavyam," a significant Sanskrit epic poem by Mahakavi Shriharsa. This specific edition is enriched with two commentaries: "Jivatuh" by Mahopadhyay Mallinath and "Maniprabhā," a Hindi translation/commentary by Pt. Hargovinddas Shastri. The preface and introductory notes highlight the importance of Sanskrit literature and the translator's effort to bring this complex work to a wider audience through Hindi.

Key Aspects and Content:

1. Publisher and Edition Details (Pages 1-3):

   • The book is part of the "Haridas Sanskrit Granthamala" series (Number 205). Auspicious greetings ("Shriḥ") are present.
   • It is a commentary-enriched edition of the "Naishadh Mahakavyam" by Mahakavi Shriharsa, featuring the "Jivatuh" commentary by Mahopadhyay Mallinath and the "Maniprabhā" Hindi commentary by Pt. Hargovinddas Shastri.
   • Pt. Tribhuvanprasad Upadhyay is credited as the author of the preface.
   • The publisher is the Chowkhambha Sanskrit Series Office, Varanasi.
   • The edition is the third, published in 1976 (Vikram Samvat 2032).
   • Pricing for different volumes of the work is listed.

2. Preface by Pt. Tribhuvanprasad Upadhyay (Page 4):

   • The preface emphasizes Sanskrit as the foremost language of the world, possessing rich and beautiful literature that was once widely prevalent and used in all aspects of life.
   • It laments the decline in Sanskrit's popularity due to societal shifts and neglect during foreign rule.
   • However, it expresses optimism for Sanskrit's revival in independent India, with increasing interest from both the public and the government.
   • The preface commends Pt. Hargovinddas Shastri's initiative to translate the "Naishadh," a work of the philosophical poet Shriharsa, into Hindi.
   • The translator's language is praised for its clarity, charm, and ability to convey the original essence.
   • It expresses hope that this work will be well-received by Sanskrit enthusiasts, encouraging further translations of Sanskrit masterpieces into Hindi.

3. Foreword/Opinion by Pt. Badri Nath Shukla (Page 5):

   • The foreword praises Sanskrit as the crown jewel of all languages, a repository of noble thoughts, and a key to achieving the four Purusharthas (Dharma, Artha, Kama, Moksha).
   • Despite centuries of neglect, Sanskrit's sweetness and vigor remain intact.
   • It notes the encouraging trend of renewed public interest in Sanskrit following India's independence.
   • The foreword thanks Pt. Hargovinddas Shastri for undertaking the translation of the "Naishadha Charita," which depicts the sacred characters of King Nala and Queen Damayanti through the highest poetic art of the great poet Shriharsa.
   • The translation is described as beautiful and clear, capable of bringing the reader very close to the poet's original intention.
   • It expresses confidence that the translation will be well-received by Sanskrit lovers, motivating the publisher and translator to make more Sanskrit literature accessible through Hindi for the welfare of humanity.

4. Introduction (Bhumika) - The Purpose of Poetry (Pages 6-26):

   • Purpose of Poetry (Kavya Prayojana) (Page 6): The introduction begins by quoting Sanskrit scholars (like Mammana and Kuntaka) on the purpose of poetry. It states that poetry is a means to achieve the four Purusharthas, offers wisdom, art, love, and eventual liberation. It highlights that poetry can bring fame, wealth, relief from suffering (like Mayura's cure from leprosy), and even divine bliss, all while offering pleasant instruction in a gentle, agreeable manner.
   • Excellence of Naishadha Charita (Page 7): The introduction discusses the ranking of Sanskrit Mahakavyas. It mentions the "Laghu Trayi" (Raghuvamsha, Kumarasambhava, Meghaduta by Kalidasa) and the "Vrihat Trayi" (Kiratajuniya by Bharavi, Shishupalavadha by Magha, and Naishadha Charita by Shriharsa). Among the authors of the Vrihat Trayi, Shriharsa is considered the best, supported by quotes praising his excellence.
   • Life of Mahakavi Shriharsa (Pages 7-11):
     • Parentage: His father was Shri Heer and his mother was Mamladevi. Shriharsa himself mentions this in the concluding verses of each canto of the Naishadha.
     • Father's Influence: Shri Heer was a scholar and the chief pandit in the court of King Jayachandra of Kashi. He was defeated in a philosophical debate by Udayanacharya, which caused him great distress.
     • Shriharsa's Brilliance: On his father's request, Shriharsa, after mastering various subjects (Tarka, Nyaya, Grammar, Vedanta, etc.), gained immense knowledge through the mantra "Chintamani" from Tripura Devi. His profound scholarship was such that others struggled to comprehend his words.
     • Gaining Comprehensibility: At Shriharsa's request, Tripura Devi advised him to wear wet clothes and drink buttermilk, which would lead to increased phlegm and turbidity, making his speech understandable to others.
     • Literary Works: The introduction mentions that Shriharsa composed many works, including "Khandana Khanda Khadya," "Shree Vijaya Prashasti," "Gaudovisha Kula Prashasti," "Arnav Varnan," "Navasahasaanka Charita," "Chinda Prashasti," and "Shivashakti Siddhi," as mentioned by him at the end of various cantos of the Naishadha.
     • Court of Kannauj: Shriharsa later arrived in Kannauj and was greatly honored by the king, who was a connoisseur of talent. He impressed the king and the assembly with his scholarship.
     • Encounter with Udayanacharya: Shriharsa recited a verse satirizing Udayanacharya, his father's victor. Udayanacharya, recognizing Shriharsa's immense intellect, praised him, thus appeasing Shriharsa's anger. The king honored both scholars, promoting camaraderie.
   • Composition of Naishadha Charita (Page 10): The king of Kannauj, Jayachandra, ordered Shriharsa to take his epic poem, "Naishadha Charita," to Kashmir and present it to Goddess Saraswati there. The goddess, who resides in Kashmir, is said to approve only flawless works. Shriharsa followed the king's command, and after being approved by Saraswati, obtained a royal certificate of its perfection from King Madhavadeva of Kashmir.
   • Shriharsa's Renunciation and Time Period (Pages 11-12):
     • Renunciation: After composing many works and enjoying royal patronage, Shriharsa took to renunciation due to personal circumstances, possibly related to the minister Prabhakar and a widow named Sahadevi.
     • Jayachandra's Reign: The introduction details events related to King Jayachandra, including the birth of his sons and the political intrigue involving Minister Vidyadhar and Sahadevi. It also mentions Sahadevi's instigation of an attack on Kashi by Takshashila's ruler, Muralan.
     • Dating Shriharsa: Based on a donation inscription dated in the Vikram Samvat 1243 (1183 CE), which mentions Jayachandra, the period of Mahakavi Shriharsa is placed in the 12th century CE. This aligns with scholarly estimates.
   • The Original Story of Nala-Damayanti (Pages 13-18):
     • Mahabharata Basis: The original story of Nala and Damayanti is found in the Vanaparva of the Mahabharata. The narrative describes how the gods sent Nala as a messenger to Damayanti, how Kali entered Nala dueS ritual impurity, and Nala's subsequent defeat and abandonment of Damayanti.
     • Shriharsa's Enhancement: The introduction highlights how Shriharsa transformed the simple narrative of the Mahabharata into a lively and engaging epic. He infused his own imagination and poetic brilliance, adding descriptive richness and emotional depth, exemplified by the swan's plight.
   • Shriharsa's Scholarship (Pages 15-21):
     • Intellectual Prowess: Shriharsa's scholarship is evident in his works like "Khandana Khanda Khadya," which masterfully argues for Advaita Vedanta. His deep understanding of philosophy, including criticisms of Charvaka and Vaisheshika schools, is showcased.
     • Poetic Skill: His skill lies in seamlessly integrating descriptions of nature (seasons, dawn, moon) and complex philosophical ideas into the narrative without disrupting the flow. Every imaginative element, like the swan's journey, fits perfectly, making the composition feel complete and vital.
     • Symbolism and Wordplay: The introduction details how Shriharsa uses rich vocabulary, including multiple meanings for words, and intricate poetic devices like Shlesha (pun) and Anuprasa (alliteration) to elevate the poetry. Examples are given of how he employs these to enhance the meaning and beauty of his verses.
     • Character Portrayal: The narrative skillfully portrays characters like Nala and his messengers, highlighting their motivations, emotions, and rhetorical abilities, especially the swan's clever wordplay.
     • Cultural and Religious Insights: The text delves into cultural practices, religious philosophical debates, and the importance of dharma as depicted in the epic. The description of Nala's ritualistic actions and the underlying philosophical discussions reveal the depth of the work.
     • The First Canto (Page 30 onwards): The summary indicates that the initial verses of the first canto begin with the glorification of King Nala, describing his excellent qualities and divine lineage. The commentary (Jivatuh) starts by explaining the meaning of the first verse, which sets the stage for the epic's narrative. It discusses the purpose of poetry and the introductory elements like blessings and the statement of the subject matter.

Overall Impression:

This edition of the "Naishadha Mahakavyam Purvarddham" seems to be a meticulously prepared scholarly work. The prefatory materials emphasize the cultural significance of Sanskrit and the dedicated efforts of the translator and commentators to make this classical epic accessible to modern readers. The introduction itself serves as a detailed exposition of Shriharsa's life, his literary contributions, and the aesthetic and philosophical dimensions of the "Naishadha Charita," positioning it as a masterpiece of Sanskrit literature.