Najjaraj Yashobhushanam - Book Summary

The "Najjaraj Yashobhushanam" (also transliterated as Nañjarājayaśobhūṣaṇa) is a work of Sanskrit poetics (Alankara śāstra) written by Narasimhakavi. It was published in 1930 by the Oriental Institute in Baroda as part of the Gaekwad's Oriental Series, under number XLVIII. The critical edition was prepared by Embar Krishnamacharya.

Here's a summary of its key aspects based on the provided text:

1. Nature of the Work:

It is an "Alankara" work, meaning it deals with the science of literary embellishments, figures of speech, and poetic theory, similar in scope to the well-known "Pratāparudrayaśobhūṣaṇa" by Vidyānātha.
The author, Narasimhakavi, uses his own stanzas to illustrate various figures of speech (Alankaras) and poetic principles. These illustrations often describe the qualities of his patron.

2. Patron and Subject:

The primary focus of the work is the glorification of Nañjarāja, a prominent figure in the administration of the Mysore kingdom in the mid-18th century.
Nañjarāja was born into the royal family of Kalale. His father was Vīrarāja, and he had an elder brother named Devarāja. He was a disciple of Saundaresaguru and was known for his extensive learning and patronage of scholars.
Nañjarāja was also a devout worshipper of Shiva, and his family deity was housed in the Nanjangud temple, which he significantly contributed to and restored.
The work details Nañjarāja's significant role as the Sarvadhikāri (Chief Minister or Finance Minister) of Mysore from 1739 to 1759, during the nominal rule of Krishņa Rāja II. Nañjarāja, also known by the surname Karachuri, effectively controlled the entire administration.
His life included notable events like a successful expedition against Dhārāpuram, marrying his daughter to the king, conquering Devanhalli after a long siege, involvement in the Carnatic Nawabship politics (allying with Muhammad Ali), and conflicts with the French and the English.
He faced internal political challenges, including a conspiracy by the king and later military mutinies for arrears in pay. He was eventually compelled to retire in 1759 due to the machinations of Haidar Ali.
Later, Haidar Ali, who rose to power with Nañjarāja's support, betrayed and imprisoned him in 1772. Nañjarāja died in prison in 1773.
The author, Narasimhakavi, likely wrote this work to appreciate the patronage he received from Nañjarāja.

3. Author (Narasimhakavi):

Belonged to the Sanagaral class of Brahmins.
His father was Sivarāma, who was likely also a learned and pious scholar, possibly the author's Guru as well.
His religious preceptor (Guru) was a Sannyasi named Yogananda.
He mentions his friend, the poet Tirumalakavi of Alur.
The author indicates his contemporaneity with Nañjarāja, noting that he was invited by Nañjarāja himself to present his work.

4. Structure and Content:

The work is structured into several "Vilasas" (chapters). The provided text includes a detailed table of contents (Vishayanukramanika) outlining the topics covered in the first seven Vilasas.
Vilas 1: Focuses on the 'Nayaka' (Hero) – his qualities (generosity, fortune, nobility, wit, brilliance, valor, piety, majesty, scholarship), types of heroes (Dhirodatta, Dhiroddhata, Dhiralalita, Dhiraśānta), classification of heroes based on their relationship with the heroine (Anukula, Dakṣiṇa, Śatha, Dhrṣṭa), their assistants (Pīṭhamarda, Vita, Vidūṣaka, Ceṭa), and the eight types of heroines (Svadhīnapatikā to Abhisārikā) along with their classification based on age (Mugdha, Madhyamā, Prauḍhā). It also discusses the primacy of Rasa, Vastu, and Alankara in poetry, and the three types of poetry based on word and meaning (Sabda-sphuraṇa, Artha-sphuraṇa, Ubhaya-sphuraṇa).
Vilas 2: Deals with the 'Kavya Svarūpa' (Nature of Poetry), defining poetry based on characteristic words and meanings, and discussing the three functions of words (Abhidhā, Lakṣaṇā, Vyañjanā) and their various types. It also covers the four styles of drama (Kaiśikī, Āraṭabhatī, Bhāratī, Sātvatī) and their subtypes, the three poetic regions (Vaidarbhī, Gauḍī, Pāñcālī), and concepts like Śayyā, Pāka, and the three types of poetry (Uttama, Madhyama, Adhama). It introduces Dhvani (suggestion) and Guṇībhūta-vyangya (subordinate suggestion).
Vilas 3: Focuses on various types of Dhvani (suggestion) and its classification, including those based on Lakṣaṇā (metaphorical extension) and Śakti (word-power), and discusses Dhvani hetus (causes of suggestion) like the speaker, the listener, etc.
Vilas 4: Explains Rasa (aesthetic sentiment) – its definition, types (Śṛngāra, Hāsya, Karuṇa, Raudra, Vīra, Bhayānaka, Bībhatsa, Adbhuta, Śānta), their sthāyībhāvas (dominant emotions), Vibhāvas (determinants), Anubhāvas (consequents), Sāttvika Bhāvas (involuntary expressions), and Vyabhicāri Bhāvas (transitory emotions). It also details the twelve stages of Śṛngāra (love) and the eight types of heroines.
Vilas 5: Discusses defects (Dosha) in poetry, categorizing them into Śabda Dosha (defects of words) and Artha Dosha (defects of meaning). It enumerates seventeen types of word defects and twenty-four types of sentence defects. It also elaborates on the twenty-four poetic qualities (Guṇa) like Mādhuryam, Ojas, Prasāda, etc., following traditions like those of Bhamaha, Vamana, and Bhoja.
Vilas 6: Focuses on Nataka (drama) and the ten types of Rupakas (dramatic forms) like Nataka, Prakarana, Bhana, etc. It describes their characteristics, the types of heroes and heroines suitable for each, and the five stages of the plot (Arthaprakṛti) and the five junctures (Sandhi) in a drama.
Vilas 7: Deals extensively with Alankaras (figures of speech), categorizing them into Śabdālankāras (figures of sound) and Arthālankāras (figures of meaning). It provides detailed definitions and examples for numerous Alankaras, including Upama (simile), Rupaka (metaphor), Utpreksha (hyperbole), Atishayokti (exaggeration), Virodhabhasa (paradox), Samasokti (condensation), Vyajokti (irony/disguised speech), etc. It also discusses their classification and distinctions, often contrasting them with other figures or citing earlier authorities like Vidyānātha.

5. Edition and Manuscripts:

The critical edition is based on two manuscripts: a paper MS from the Government Oriental MS Library, Madras (designated O.L.), and a palm-leaf MS from the Oriental Institute, Baroda (designated C.L.).
The editor acknowledges defects and scribe errors in the manuscripts and regrets any printer's mistakes that may have occurred despite efforts to avoid them.

6. Significance:

The work is a valuable contribution to the study of Sanskrit poetics, offering a systematic treatment of Alankaras and discussing their nuances.
It provides insights into the political and cultural milieu of 18th-century Mysore through its detailed portrayal of Nañjarāja's life and times.
The author's own opinions and elaborations on certain topics, sometimes differing from Vidyānātha, add depth to the discussion of poetic theory.

In essence, "Najjaraj Yashobhushanam" is a scholarly treatise on Sanskrit poetics that also serves as a biographical panegyric for a significant historical figure, Nañjarāja, offering a rich tapestry of literary theory and historical context.