Naishadhiya Charitam 01

Here's a comprehensive summary of the provided Jain text, focusing on the "Naishadhiya Charitam 01" by Mohandev Pant, published by Motilal Banarsidass. The summary draws from the provided pages, which primarily include the preface, introduction, and the beginning of the first canto.

Book Title: Naishadhiya Charitam 01 Author(s): Mohandev Pant Publisher: Motilal Banarsidass Catalog link: https://jainqq.org/explore/032783/1

Overall Purpose and Structure:

This publication is an edition of the epic poem "Naishadhiya Charitam," originally composed by the great poet Sri Harsha. This specific volume, edited and translated by Mohandev Pant, includes the original Sanskrit text, a detailed commentary titled "Chhatratoshini," a comprehensive introduction, and a Hindi translation. The editor, Mohandev Pant, is a retired Principal of a Sanskrit College, indicating his academic background and the scholarly nature of the work.

Editor's Preface ("Do Shabd"):

• Popularity of Naishadhiya Charitam: The editor notes that the "Naishadhiya Charitam" is highly popular due to its excellence as a literary work and is often prescribed in higher examinations.
• Origin of the Commentary: Students repeatedly requested the editor to write a commentary in his critical style. He agreed but lacked the time until his retirement from college.
• Collaboration with Publisher: The renowned Delhi publisher Motilal Banarsidass also requested a commentary, leading to the creation of "Chhatratoshini."
• Historical Context of Commentaries: The preface provides an extensive list of 23 commentators on the "Naishadhiya," dating back to Vidyadhara (around 1250-1260 CE) whose commentary is known as "Sahitya Vidyadhar." Other significant commentators mentioned include Chandu Pandit (whose "Dopika" is from 1353 VS) and Ishanadeva, Narahari, Vishweshvara, Jinraj, Mallinath, and Narayana. Mallinath's "Jivatva" and Narayana's "Prakash" are noted as being currently available.
• Editorial Approach of "Chhatratoshini":
  • The editor aims to provide a simple, context-specific, and critical commentary suitable for less mature students.
  • He adopts Narayana's critical approach, following the "Dand anwaya" (a more analytical method of breaking down sentences) unlike Mallinath's "Khandan anvaya."
  • The commentary includes critical analysis of each point in the notes.
  • A separate section ("Vyakaran Stambh") provides grammatical explanations and word etymology.
  • Compound words are explained within the commentary itself for brevity.
  • The translation is literal and conversational.
  • The work includes a detailed critical introduction.
• Assistance Received: The editor acknowledges help from Krishnakant Handiki's notes and English translation, and from the "Narayan Tika" edition of "Naishadha" edited by M.M. Shivadatta. He also benefited from Mallinath's "Jivatva" published by Chaukhamba.
• Publisher's Gratitude: The editor expresses gratitude to Motilal Banarsidass for undertaking the publication.
• Apology for Errors: Due to the distance from Delhi, the editor couldn't review proofs, and apologizes for any printing errors.

Introduction ("Bhumika"):

• Introduction to Sri Harsha: The introduction begins by discussing the common tendency of ancient Sanskrit poets to remain reticent about their personal lives, contrasting this with Sri Harsha, who provided some information about his parents, works, and patron king in his "Naishadhiya Charitam." External evidence is also noted as being available.

• Parentage and Patronage: Sri Harsha identified his father as Hir (or Hirah) and mother as Mamalladevi. His father was a chief scholar in the court of Kashi King Vijayachandra. Sri Harsha, like his father, was a chief scholar and court poet for Jayachandra, son of Vijayachandra. He received royal honors like pan and an elevated seat.

• Distinction from other Sri Harshas: It's clarified that the poet Sri Harsha is different from the playwright Sri Harsha (Emperor Harshavardhana). The "Sri" in the latter's name is honorific, while for the poet, it's part of his name. He referred to himself as "Shri Shri Harsha" for added respect.

• Debate on Birthplace and Time:

  • Birthplace: Sri Harsha gave no direct indication of his birthplace. Scholars have differing opinions. Some Bengali scholars, citing his work "Gaudovishakulaprasasti," suggest he was from the Gaud region (Bengal). However, the editor argues that without seeing the text, this is speculation, similar to calling Kalidasa a devotee of Kalika just because his name has "Kali." The mention of "Ullulu" sounds during a wedding celebration is also debated, with Mallinath attributing it to North India and Narayana to Bengal. The editor dismisses Narayana's interpretation and points out that Murari and others have used "Ullulu" without limiting it to Bengal. The argument based on "Alepan" (decorative floor painting) is also deemed inconclusive as it's a pan-Indian practice.
  • Kashmiri Connection: Another theory connects Sri Harsha to Kashmir due to his mother's name, Mamalladevi. The editor refutes this by noting that if he were Kashmiri, he wouldn't have referred to himself as an outsider ("Vaideśiko'smi") in Kashmir or suffered ill-treatment from Kashmiri scholars.
  • Mamallapuram Theory: Some suggest his mother's birthplace was Mamallapuram, a town near Vatapi, which led to her being called Mamalladevi.
  • Conclusion on Location: While his birthplace remains uncertain, the editor asserts that Sri Harsha lived and flourished in Kanyakubja (Kannauj), as he himself indicated. Kannauj's influence extended to Kashi, explaining his father's title as Kashi King's chief scholar, even if their origin was from Gaud.
  • Time Period: Sri Harsha is considered to be from the latter half of the 12th century CE. This is based on his patronage by Jayachandra, whose reign was 1168-1194 CE. This is further supported by a donation inscription from 1166 CE.
  • Refuting Older Theories: The editor counters the argument from Chand Bardai's "Prithviraj Raso" that Sri Harsha preceded Kalidasa. He questions the authenticity of the "Raso" and its Muslim loanwords, suggesting a later composition. He also points out that if Sri Harsha were very ancient, later scholars would quote from his work as they do with Kalidasa. He also mentions that Rajshekhar referred to three Kalidasas, implying Sri Harsha might have been contemporary to a later Kalidasa. The fact that Chandu Pandit, a commentator from 1269 CE, calls "Naishadha" a "new" poem, and Sri Harsha himself refers to his work as "Navya," negates theories of extreme antiquity. "Naishadha" is considered the last great poem in the ornate style established by Bharavi.

• Personal Life of Sri Harsha:

  • Father's Defeat and Revenge: Rajshekhar's "Prabandhakosha" narrates that when Harsha was young, his father Hir was defeated in a philosophical debate by Udayanacharya. Before dying from shame, Hir urged his son to avenge his defeat.
  • Intense Study and Siddhi: Driven by this promise, Harsha embarked on a rigorous study, mastering various scriptures from renowned scholars. He obtained a 'Chintamani mantra' and gained immense knowledge and intellect from Goddess Tripura.
  • Debate with Udayanacharya: He challenged Udayanacharya in Jayachandra's court. Overwhelmed by Harsha's brilliance, Udayanacharya acknowledged his superiority. The king resolved the old animosity between them.
  • Kashmir Journey: King Jayachandra, pleased with Harsha, commissioned the "Naishadhiya Charitam." He sent Harsha to Kashmir to get a certificate of its flawlessness from the Kashmiri scholars. Kashmir was a renowned center of learning.
  • Mistreatment in Kashmir: The Kashmiri scholars, due to arrogance, ignored Harsha and his work.
  • The Well Incident: While in distress, Harsha witnessed two maids quarreling near a well. They were called as witnesses by the king. Harsha, called to court, demonstrated his exceptional memory and eloquence by perfectly recounting their dispute.
  • Recognition and Acceptance: The Kashmiri king, impressed, rebuked his scholars for their mistreatment. He then accepted Harsha's "Naishadhiya," praised it, and arranged for him to receive the required certificate.
  • Confrontation with Kalabharti: Upon returning to Kashi, Harsha presented the certificate to Jayachandra. Later, at the royal court, a proud courtesan named Kalabharti, who styled herself "Kalabharati," challenged Harsha, asking him to make shoes for her as a test of his artistry. Harsha, understanding her intent, made shoes from tree bark and presented them, asserting his mastery of all arts.
  • Renunciation: Displeased with the court politics, Harsha eventually renounced his royal patronage and took to a life of asceticism on the banks of the Ganges.

• Sri Harsha's Personality:

  • Multi-faceted Genius: Sri Harsha possessed a versatile and multifaceted personality. The events of his childhood, his father's defeat, and the promise to avenge it fueled his determination.
  • Filial Devotion and Truthfulness: His unwavering devotion to his father and commitment to his word are evident.
  • Maternal Devotion: He also remembered his mother, dedicating his work to her feet.
  • Devotion to Tripura Devi: He was a devotee of Tripura Devi, whose grace bestowed upon him exceptional talent.
  • Eclecticism in Worship: Despite his primary devotion, he showed reverence for other deities, portraying Nala performing various rituals for Shiva, Vishnu, and other gods.
  • Philosophical Stance: He was a Brahmachari in philosophical views, expressing Vedanta principles and refuting various philosophies to assert Advaita. His work "Khandanakhandakhadya" supports Advaita.
  • Intellectual Pride: Sri Harsha was proud of his scholarship, as seen in his confident challenge to Udayanacharya and his comparison of other poets' works to small rivers while calling his "Naishadha" an ocean of nectar. He also criticized tasteless critics. This pride was justified by his vast knowledge.
  • Versatility in Arts and Sciences: Vidyadhara, the first commentator, noted Harsha's mastery of eight grammatical systems, logic, literature, Vedic exegesis, Puranas, and other scriptures. He considered himself a master of logic.
  • Artistic Prowess: Beyond scholarly pursuits, Sri Harsha excelled in arts like music, dance, and painting.
  • Humorous and Jovial Nature: Despite his profound intellect, he was cheerful and enjoyed humor, evident in his descriptions of the reactions of goddesses to Damayanti's beauty and the playful interactions at the Swayamvara. His depiction of Charvakas in the 17th canto, ridiculing ascetics and scriptures, showcases his sharp wit.
  • Self-Control and Spiritual Attainment: He considered himself "Jitendriya" (one who has conquered senses) and claimed to experience Brahmananda in meditation. The editor wonders how he could depict such detailed erotic descriptions if he were so spiritually detached, attributing it to divine grace.

• Works of Sri Harsha:

  • Rajshekhar mentions Harsha wrote hundreds of works after gaining divine powers, but only mentions "Khandanakhandakhadya."
  • Harsha himself lists nine works in his "Naishadhiya": 1. Naishadhiya Charita, 2. Sthairya Vichara Prakarana, 3. Vijaya Prashasti, 4. Khandanakhandakhadya, 5. Gaudovishakulaprasasti, 6. Arṇava Varṇana, 7. Chhinda Prashasti, 8. Shivashakti Siddhi, and 9. Navasahasa Charita.
  • His "Khandanakhandakhadya" also mentions his work "Ishwarabhisandhi."
  • Only "Naishadhiya Charita" and "Khandanakhandakhadya" are available; the rest are lost.
  • "Naishadhiya Charita" narrates the story of Nala. "Khandanakhandakhadya" refutes Nyaya philosophy and establishes Vedanta.
  • The title "Khandanakhandakhadya" means a work whose primary subject is "refutation" (Khandana).
  • The mention of "Khandanakhandakhadya" in "Naishadhiya" and vice-versa suggests they were written concurrently.
  • The themes of the lost works are speculative, but their names suggest their subjects: Sthairya Vichara Prakarana likely dealt with the refutation of Buddhist impermanence; Vijaya Prashasti likely praised Jayachandra's father, Vijayachandra; Gaudovishakulaprasasti likely described the Gaud dynasty; Arṇava Varṇana might describe the ocean or King Arṇavaraja of the Chauhan dynasty; Chhinda Prashasti likely praised a king named Chhinda; Shivashakti Siddhi might be a hymn or Tantric text; and Navasahasa Charita is a Champu-kavya about King Navasahasaṅka.

• Plot of Naishadhiya Charitam:

  • Nala's Description: Nala, son of Virasena, was a Chandravanshi king of Nishadha, skilled in all arts, victorious in beauty over Kama, unmatched in valor, and epitome of generosity.
  • Damayanti's Love: Damayanti, the beautiful princess of Vidarbha, fell in love with Nala upon hearing of his virtues, even without meeting him. Nala too desired her after hearing of her unparalleled beauty and qualities.
  • The Swan's Role: Nala, while relaxing in a pleasure garden, captured a divine swan. Moved by its plea, Nala released it. The swan promised to help Nala win Damayanti.
  • Swan's Message: The swan conveyed Nala's message to Damayanti, further enchanting her.
  • Swayamvara and Divine Suitors: King Bhima of Vidarbha, realizing Damayanti's desire for marriage, announced a Swayamvara. Due to Damayanti's fame, Indra and other gods attended.
  • Nala as Divine Messenger: Nala met the gods on the way and was persuaded to act as their messenger to Damayanti, requesting her to choose one of them.
  • Damayanti's Steadfastness: Nala, using his invisibility power, met Damayanti. He relayed the gods' message, but Damayanti, having already pledged her heart to Nala, refused.
  • Divine Deception: Indra and others then attended the Swayamvara disguised as Nala.
  • Damayanti's Discernment: Damayanti, with the help of Saraswati (who appeared disguised as a narrator), identified the real Nala among the five "Nalas."
  • Union and Joy: Damayanti garlanded the true Nala. The gods, pleased with her virtue, blessed her and Nala. Nala took Damayanti to Nishadha after a few days of marital bliss.
  • KALI's Envy: Meanwhile, Kali, who had missed the Swayamvara, became enraged upon hearing of Damayanti's choice of Nala. He vowed to separate them.
  • Honeymoon and Dharma: Nala enjoyed his honeymoon with Damayanti, fulfilling their desires while maintaining his religious duties. Kali watched for an opportunity to disrupt their happiness.

• Incompleteness Debate: Some critics suggest that "Naishadhiya Charitam" presents only a partial life of Nala, ending with the marriage and honeymoon, omitting the period of exile and subsequent suffering caused by Kali. They argue the title "Naishadhiya Charitam" implies a complete biography, and the inclusion of Kali's involvement suggests a larger narrative. The editor disagrees, citing the concluding auspicious verses and the poet's self-referential verses at the end of each canto, which indicate completion. He argues that the "charu" (beautiful) descriptions, especially the focus on "Shrringar Rasa" (erotic sentiment), imply the poet intended to focus on the love aspect, making the inclusion of Kali's disruptive role as foreshadowing rather than a narrative element of this specific canto. He also points out the absence of any mention of missing parts by earlier commentators.

• Sources and Literary Influence: The primary source for the Nala-Damayanti story is the Mahabharata (Vanaparva, chapters 53-79). Sri Harsha expanded a brief five-chapter, 166-verse account in the Mahabharata into a 22-canto, 2804-verse epic. The editor emphasizes that a poet's role is not just to narrate but to creatively embellinate, likening history to a museum of skeletons that the poet enlivens with imagination, blood, and emotion. He places Sri Harsha in the tradition of Kalidasa, Bharavi, and Bana, who all transformed existing narratives. The editor highlights that cantos 6-7, 10-14, 19-21 are not present in the Mahabharata, and the detailed descriptions of the Swayamvara, the introduction of humor, Saraswati as a narrator, and Kali's materialistic followers are all Sri Harsha's original contributions. He also notes how Harsha refined narrative elements from the original, such as the swan's interaction and Nala's disguise, to enhance characterization and dramatic effect.

First Canto Overview:

The initial pages focus on introducing Nala's grandeur, his beauty surpassing gods, his prowess, and the growing mutual affection between Nala and Damayanti. The narrative begins with Nala's greatness, his father Hir's status, and the widespread acclaim for his poetry. It then describes Nala's divine attributes, comparing him to various deities and natural elements. The poetic style is characterized by intricate Sanskrit verses, elaborate descriptions, and a focus on aesthetic embellishments, typical of the ornate style of Mahakavyas. The first canto sets the stage for the unfolding love story and the challenges that lie ahead.

Key Themes and Literary Features:

• Ornate Style (Alankara-Bahula): The work is lauded for its highly ornamental style, employing abundant figures of speech, complex compounds, and sophisticated vocabulary.
• Descriptive Richness: Sri Harsha is praised for his detailed and evocative descriptions of nature, courtly life, and human emotions.
• Lyrical Quality: Despite the ornate style, the poetry is noted for its lyrical beauty and emotional depth, particularly in depicting love and longing.
• Philosophical and Scholarly Depth: The introduction reveals Sri Harsha's mastery of various shastras and his engagement with philosophical debates, woven into the narrative.
• Humor and Wit: The poet's ability to incorporate humor and wit adds a lighter dimension to the epic.
• Character Portrayal: Sri Harsha delves into the psychology of his characters, depicting their aspirations, emotions, and internal conflicts.
• Religious and Cultural Context: The narrative reflects the religious, cultural, and social customs of medieval India.

This summary highlights the core content and the editor's perspective on the significance and artistry of Sri Harsha's "Naishadhiya Charitam."