Naishadhiya Charitam

This is a comprehensive summary of the provided Jain text based on the information presented in the document.

Book Title: Naishadhiya Charitam Author(s): Shesaraj Sharma (as commentator/translator) Original Author: Sri Harsa Publisher: Chaukhambha Sanskrit Series Office / Chaukhambha Surbharati Prakashan Catalog Link: https://jainqq.org/explore/032779/1

Overall Nature of the Text:

The provided text is an excerpt from a Hindi translation and commentary (titled "Chandrakala") of the Sanskrit Mahakavya (epic poem) "Naishadhiya Charitam" by the ancient Indian poet Sri Harsa. The commentary and translation are by Acharya Shesaraj Sharma 'Regmi'. The publisher is Chaukhambha Surbharati Prakashan, Varanasi, with a branch in Delhi. The text focuses on the introduction and the initial chapters of the Naishadhiya Charitam, discussing its literary significance, the life of the poet Sri Harsh, and providing a summary of the plot, along with some exceptional verses and their analysis.

Key Aspects Discussed in the Excerpt:

1. Literary Standing of Naishadhiya Charitam:

   • It holds a high position among Sanskrit Mahakavyas.
   • It is considered part of the "Brihattrayi" (along with Kiratarjuniya and Shishupalavadha) and the "Pancha Mahakavyas" (along with Kumarasambhava and Raghuvamsha).
   • It is praised for its "lokottar chamatkar" (transcendent wonder), "ras" (aesthetic sentiment), "bhav" (emotion), "dhvani" (suggestion), "alankar" (figures of speech), "padalalitya" (grace of words), and the extraordinary nature of its descriptions and proofs.
   • While the saying "Upama Kalidasasya, Bharave: Arthagauravam, Naishedhe Padalalityam, Maghe Santi Trayo Gunah" highlights Kalidasa's similes, Bharavi's depth of meaning, and Magha's three qualities, a later saying elevates Naishadha above Magha and Bharavi: "Tavadbha Bharaveh Yavannaghasya Nodayaḥ / Uditena Naishedhe Bhanina Kv Maghaḥ? Kv Cha Bharaviḥ?" (The brilliance of Bharavi shines until the rise of Magha, but when the sun of Naishadha rises, where is Magha? And where is Bharavi?). This implies Naishadhiya Charitam surpasses the other two.

2. The Poet Sri Harsh:

   • Parents: Father was Sri Heer, and mother was Mamalladevi or Alladevi. Paternal lineage is indicated by the concluding verses of each canto.
   • Scholarly Background: Sri Harsh's father was defeated in a philosophical debate by a scholar named Udayanacharya (different from the author of Kusumānjali and Kiranāvali). Sri Harsh was requested by his father to defeat Udayanacharya in a debate.
   • Intellectual Prowess: Sri Harsh attained extraordinary erudition and talent through the "Chintamani Mantra" initiated by his mother. He defeated Udayanacharya with his Vedantic treatise "Khandanakhandakhādya."
   • Anecdote about Comprehensibility: It is said that when his compositions were found difficult to understand, Sri Harsh drank water mixed with curd in the middle of the night, which supposedly clouded his intellect with phlegm, making his poetry accessible to people.
   • Relationship with Mammata Bhatta: There's a saying that Sri Harsh was the nephew of the famous rhetorician Mammata Bhatta. Mammata supposedly commented that if he had received Naishadhiya Charita before writing the seventh chapter of Kavyaprakasha, he wouldn't have had to consult numerous texts for examples of flaws, as one text from Sri Harsh would have suffic[ed. However, the text notes that this saying has little truth.
   • Patronage: Sri Harsh was a court poet for Maharaj Vijayachandra and Jayachandra of Kanyakubja (Kannauj). He received two betel leaves and a seat from them.
   • Time Period: Sri Harsh lived in the 11th century Vikram era.
   • Other Works: Brief mention of other works attributed to Sri Harsh:
     • Sthairya Vicharana Prakarana (likely refuting Buddhist moments)
     • Vijaya Prashasti (praise of Vijayachandra, father of Jayachandra)
     • Khandana Khanda Khadya (a highly complex philosophical text refuting Nyaya and establishing Advaita Vedanta)
     • Gaudorvishakula Prashasti (description of a king of Bengal)
     • Arṇava Varṇana (Ocean description)
     • Chhindapraśasti (Praise of a king named Chinda)
     • Shiva Shakti Siddhi (likely about the efficacy of Shiva and Shakti)
     • Navasāhasāṅkacharita Champu (Biography of King Bhoja's father, Navasāhasānka)
     • Naishadhiya Charita Mahakavya (mentioned as a fruit of contemplating the Chintamani mantra).

3. Naishadhiya Charita Mahakavya:

   • Structure: It has 22 cantos (Sargas).
   • Size: It is considered vast and superior to other prevalent Mahakavyas, except possibly Ratnakara's Haravijaya Mahakavya (which has 50 cantos). Some cantos are short (e.g., 13th with 56 verses, 15th with 63, 19th with 67), while others are longer (e.g., 17th with 222 verses).
   • Total Verses: 2828 verses.
   • Composition: Said to be composed at the command of his patron Maharaj Jayachandra.
   • Metres: Utilizes 19 different metres, with Upajati being the most frequent (used in 7 cantos), followed by Vamshastha (used in 4 cantos). Other metres include Dughdaka, Vasantatilaka, Swagata, Drutavilambita, Rathoddhata, Shardulavikridita, Sragdhara, Shikharini, and Anushtup. The 17th canto is entirely in Anushtup.
   • Commentaries: 23 commentaries are believed to exist. Notable ancient ones include Mallinatha's Jivatu and Narayan Pandit's Prakash. Notable modern ones are by Jivananda Vidyasagar and Mahamahopadhyaya Haridas Siddhantavagish. However, many commentaries are only known by name.
   • Available Works of Sri Harsh: Only Naishadhiya Charita and Khandanakhandakhādya are currently available; others are lost.
   • Source Material: The primary source for Naishadhiya Charita is the Nalopakhyana from the Vanaparva of the Mahabharata.
   • Plot Summary (up to Canto 9):
     • Canto 1: Description of King Nala's virtues, Damayanti's pre-existing love upon hearing about him from messengers, envoys, and bards. Nala's infatuation with Damayanti after hearing of her beauty and virtues. Nala goes to a garden to console himself due to separation from Damayanti, catches a swan, releases it upon hearing its lamentation in human speech. The swan promises to help Nala win Damayanti and goes to her. The swan describes Nala's virtues and beauty to Damayanti. King Bhima arranges Damayanti's Swayamvara (self-choice of groom). Upon hearing about the Swayamvara from Narada, Indra, Yama, Varuna, and Agni prepare to attend. Nala meets them on the way and becomes their messenger due to his skill. The Swayamvara is grand. The four deities take Nala's form. Damayanti, unable to decide, becomes distressed. Finally, the gods reveal themselves by displaying their divine attributes, and Damayanti marries Nala. On the way back, they encounter Kali. The gods refute Kali's atheism. Kali, angered by Nala, vows to torment him and stays elsewhere, waiting for an opportunity.
     • Canto 2: The swan escapes Nala and returns to its nest, then goes back to Nala. The swan supports Nala's idea of going for a hunt and promises to reciprocate by describing Damayanti's beauty and qualities to Nala, thereby creating Nala's attraction towards her. Nala describes his state of suffering from separation from Damayanti. With the King's permission, the swan flies to Kundinpur. Description of the journey and auspicious omens. Description of Kundinpur, its palaces, and elephant procession. Description of the garden and the swan seeing Damayanti with her companions.
     • Canto 3: The swan descends to the ground near Damayanti. Seeing it, Damayanti wishes to catch it. Her friends dissuade her. The swan, understanding Damayanti's desire, deceives her companions, takes her to a secluded spot, and chides her in human language, introducing himself and describing Nala's virtues in detail. The swan tries to create Damayanti's love for Nala and asks what he can do to fulfill her wish. Damayanti initially hides her feelings, using ambiguous words. When the swan expresses inability to convey her message to Nala, she openly declares her love for Nala and suggests a suitable time to send her reply. The swan describes Nala's state of separation and the appropriateness of their union. At this moment, Damayanti's searching friends arrive. After bidding farewell, the swan returns to Nala and informs him of the success of his mission.
     • Canto 4: Karuna Rasa (pathos) is vividly described through the swan's words after being caught by Nala. Description of the swan's plea, mentioning its aged mother, grieving children, and wife, invoking compassion. Slishta (double meaning) description of King Bhima's city. Skillful demonstration of Nala's virtues with grammatical expertise. Heart-touching description of Nala's horses using the metaphor of Garuda. Skillful description of Nala's virtues with exaggeration, stating that if the three worlds were to count his qualities, they would finish only after parardhas (an immense number). Vivid portrayal of the moon's blemish using utpreksha (poetic fancy) and apahnuti (concealment). Unique presentation of the Mimamsa principle that words themselves are deities, not the embodied forms. Beautiful description of Indra's superiority through saralaṅkāra (figure of speech). Lovely description of Bharatavarsha's superiority to heaven. Wonderful depiction of the unique experience of seeing multiple Apsaras by seeing just one Damayanti. Wonderful presentation of Damayanti's view that Nala is more beautiful than Kamadeva and the Ashwini Kumars. Sweet depiction of Damayanti telling Nala, "Merely hearing your words has not diminished my desire to hear your name," using a simile. Several beautiful verses from Cantos 1-9 are presented as examples.

4. Author'13's Commentary (Chandrakala):

   • The author of the commentary, Acharya Shesaraj Sharma, aimed to make the text easily understandable for students by consulting both ancient and modern commentaries (like Jivatu, Prakash, and Jayanti).
   • He seeks the judgment of learned scholars and students regarding his success.

5. Key Literary Devices and Themes Mentioned:

   • Alankaras (Figures of Speech): Vyanthirek (difference), Rupak (metaphor), Yathan Sankhya (enumeration), Utpreksha (poetic fancy), Shlesh (pun), Paryayokti (indirect speech), Visham (incongruity), Kavyalinga (poetic reasoning), Ekashraya (single support), Bhrantiman (delusion), Samasoķti (metaphorical implication), Vyanga (suggestion), Parampariṭa Rūpaka (sequential metaphor), Virodhabhasa (apparent contradiction), Atishayokti (hyperbole), Vakyarth Hetuka Kavyalinga (metaphorical reasoning for a sentence's meaning), Chhekanuprasa (alliterative grace), Vṛttyanuprasa (rhythmic alliteration), Tyag (abandonment), Pratimā (likeness), Vyanga Artha (suggested meaning), Anvaya (syntax), Upajñati (classification), Alankara Dhvani (suggestion of figures of speech), Rati (love), Sringara Rasa (erotic sentiment), Karuṇa Rasa (pathos), Prasaḍa Guna (clarity/ease quality), Vaidarbhi Riti (style of composition), Madhurya Guna (sweetness), Oja Guna (vigor), Pachali Riti (style of composition), Nisṛṣṭārtha Duta (messenger of entrusted meaning).
   • Themes: Love, devotion, beauty, kingship, divine intervention, philosophical concepts (likely related to the nature of reality and the soul, given the mention of Advaita in Sri Harsh's other works).

6. Second Edition Mention: The text refers to a second edition of the work.

Overall Impression:

This is a scholarly and detailed introduction to Sri Harsh's Naishadhiya Charita, highlighting its literary brilliance and providing biographical context for the poet. The commentary by Acharya Shesaraj Sharma aims to elucidate the complex poem for a wider audience, demonstrating a deep understanding of Sanskrit poetics and philosophy. The excerpt showcases the richness of classical Indian literature and the meticulousness of traditional scholarly work in preserving and explaining these texts.