Vikramank Dev Charit

This is a comprehensive summary of the provided Jain text, "Vikramank Dev Charit," based on the Gujarati translation by Acharya Vallabhji Haridatt Acharya and prepared by Acharya Girijashankar Vallabhji. The summary covers the introductory pages, the preface (Prastavna), the literary analysis of the epic, historical context, character biographies, and the detailed canto-wise synopsis and textual analysis.

Book Title: Vikramank Dev Charit (વિક્રમાંકદેવચરિત) Author of Original: Bilhana (બિલ્હણ) Translator: Acharya Vallabhji Haridatt Acharya (આચાર્ય વલ્લભજી હરિદત્ત) Editor/Preparer: Acharya Girijashankar Vallabhji (આચાર્ય ગિરિજાશંકર વલ્લભજી) Publisher: Gujarat Vernacular Society (ગુજરાત વર્નાક્યુલર સોસાઈટી) Publication Year: 1911 (Samvat 1968)

Overall Summary:

The text is a Gujarati prose translation of the renowned Sanskrit epic poem "Vikramankadevacharita" by the Kashmiri poet Bilhana. This translation aims to make Bilhana's elaborate Mahakavya accessible to a wider Gujarati readership. The book itself is a publication of the Gujarat Vernacular Society, funded by the Seth Harivallabhdas Baldavikas Granthamala and memorial funds.

The summary provides an in-depth look at:

1. Publishing Information & Patronage: The initial pages detail the publication details, acknowledging the generosity of Seth Harivallabhdas Balgovinddas and the Gujarat Vernacular Society. It lists other books published under the "Seth Harivallabhdas Balvikas Granthamala" series, highlighting the society's commitment to disseminating knowledge.

2. Preface (Prastavna): The preface introduces the purpose of a preface as an entry point into a text. It defines "Mahakavya" (epic poem) according to literary traditions, citing the "Sahitya Darpan." It outlines the characteristics of a Mahakavya, including:

   • A narrative divided into cantos (sargas).
   • A single hero, often divine or from a noble lineage (Kshatriya), possessing heroic qualities (Dhirodattaguna).
   • A primary Rasa (sentiment) chosen from Shringar (romance), Veera (heroism), or Shanta (peace), with other Rasas as secondary.
   • Inclusion of all dramatic sandhis (acts of a play).
   • A plot derived from history or a similar source, or a mixed narrative.
   • Specific structural elements like invocations, benedictions, and the inclusion of praise for good and condemnation of evil.
   • Descriptions of various settings, events, and emotions.
   • The preface notes that Bilhana's work adheres to most of these characteristics, though the absence of specific names for each canto is attributed to the poet's discretion.

3. Literary Analysis of the Poem:

   • Theme: The main subject is the description of Vikramanka Deva, the son of the Chalukya king Ahava malla (or Trailokyamalla) of Kalyana.
   • Structure: The poem has 18 cantos. Cantos 7 to 13 focus on descriptions of seasons, and canto 18 is dedicated to the poet's homeland, king, and self-description.
   • Verses and Metres: The total number of verses is 1651, distributed across the cantos and written in 16 different metres. The text provides a detailed breakdown of the number of verses used in each metre and their distribution across various cantos (e.g., Indravajra, Upendravajra, Upajati, Shardulavikridita, Vasantatilaka, etc.).
   • Poetic Style: The poem is composed in the Vaidarbhi riti (style), known for its sweetness (madhurya) and graceful language. However, the analysis points out that while Bilhana aimed for the style of great poets like Kalidasa, he sometimes falls short, resulting in "dry" or unengaging passages. The use of certain words is noted as repetitive. The translator expresses admiration for Bilhana's poetry while also offering constructive criticism.

4. Historical Context and Biographies:

   • Bilhana: The poet Bilhana is identified as a Kashmiri Brahmin of the Kaushika gotra. His ancestry is traced back to learned Brahmins brought to Kashmir by King Gopaladitya. Bilhana studied Vedas, Vedangas, Grammar, and Literature. His fame spread, but he had some disagreement with King Kalasha of Kashmir, leading him to leave the region. He traveled extensively in India, visiting Mathura, Vrindavan, Kanyakubja, Prayaga, and Varanasi. He reached the court of King Karna of Gujarat, where he debated with Pandit Gangadhar and subsequently proceeded to Dhara. He visited Somnath and then traveled south. It was in Kalyana that King Vikramaditya of the Chalukyas honored him, bestowed upon him the title "Vidyapati" (Lord of Learning), and provided him with wealth, leading Bilhana to compose "Vikramankadevacharita" in his old age, around 1085 CE.
   • Bilhana's Other Works: The text mentions his other works like "Trirupakesha" (a commentary, though its existence is doubted by Dr. Müller), "Karna Sundari" (a play dedicated to King Karna of Gujarat, staged during an Adinath festival), and potentially "Bilhana Charita Kavya" (whose authorship is debated, with a story of his affair with a princess causing him trouble and a potential death sentence, which is critically examined).
   • Vikramaditya (The Hero): The text delves into the lineage and life of Vikramanka Deva, the protagonist. He is identified as the son of Ahava Malla (or Trailokyamalla) and grandson of Someshvara I, belonging to the Chalukya dynasty of Kalyana. The narrative traces his birth through divine intervention, his childhood, his refusal to accept the throne over his elder brothers, his military expeditions (against Cholas, Malavas, etc.), his political maneuvering, and his eventual accession to the throne. It highlights his patronage of scholars like Vignaneshvara, the commentator on the Yajnavalkya Smriti. His reign is portrayed as prosperous and just. His marriages, including one to Chandralekha, daughter of the Karahata Shila King, are described.
   • Other Historical Figures: The text mentions various kings and rulers from the Chalukya dynasty and contemporary kingdoms, providing a historical backdrop to Vikramanka's reign.

5. Detailed Synopsis of Cantos (Sarga-wise Description): The document provides a detailed synopsis of each of the 18 cantos, outlining the main events and themes covered in each. This includes:

   • Canto 1: Invocation, introduction of the poet, the Chalukya lineage tracing back to Brahma.
   • Canto 2: Founding of Kalyana city, King Ahava malla's desire for sons, penance, and receiving a boon of three sons.
   • Canto 3: Naming of the middle son Vikramadeva, his childhood, the king's decision to make him Yuvaraja, Vikramaditya's refusal to usurp his elder brother's right, and his decision to embark on a digvijaya (conquest of directions).
   • Canto 4: Vikramaditya's return from conquest, news of his father's death, encountering his brother Someshvara's conspiracy, and his departure.
   • Canto 5: Vikramaditya's second digvijaya, his reconciliation with his younger brother, Someshvara's attempts to defeat him, his travel to Malaya, and receiving an offer of marriage from the Dravida king.
   • Canto 6: Vikramaditya's return to Dravida, news of the Dravida king's death, placing the Dravida prince on the throne, his conflict with Vrigninath and Somadeva, his victory, capture of Somadeva, and his own accession to the throne.
   • Canto 7: Vikramaditya's return to Kalyana after his digvijaya, with descriptions of spring.
   • Canto 8: The swayamvara of Chandralekha, daughter of the Karahata king, and the description of her beauty.
   • Canto 9: Vikramaditya's envoy to Chandralekha's kingdom, his own journey to the swayamvara, and being chosen by Chandralekha.
   • Canto 10: Vikramaditya's marriage to Chandralekha, descriptions of spring, and festivities.
   • Cantos 11-13: Detailed descriptions of seasons (evening, darkness, morning, noon, hunt, mountains, seasons, forests, oceans, love, separation, hermits, heaven, cities, sacrifices, battles, marches, marriages, obtaining sons, etc.).
   • Canto 14: An incident involving a man who reveals his younger brother's plotting, and Vikramaditya's confrontation with him by the Krishnaveni river.
   • Canto 15: The battle between Vikramaditya and his enemies, their defeat, and Vikramaditya's return.
   • Canto 16: Description of winter, Vikramaditya's hunting expedition with his wives.
   • Canto 17: Description of his kingdom's happiness, birth of a son, donations, construction of temples, and his campaign against the proud Chola king.
   • Canto 18: Description of Kashmir, Pravarapura, the poet's own lineage and life, and his relationship with the Chalukyan rulers.

6. Linguistic and Metrical Observations: The translation's preface and analysis sections discuss the use of various Sanskrit metres and the Gujarati prose translation's effort to capture the essence of Bilhana's descriptions, including detailed comparisons of the original Sanskrit usage with the translated Gujarati.

7. Critical Appreciation: The translator offers a balanced view, appreciating Bilhana's poetic skill while also pointing out areas where the original might have been more impactful or less repetitive. The translator also addresses the historical accuracy of Bilhana's account, noting that while Bilhana's narrative is generally factual, as supported by inscriptions, he sometimes embellishes for poetic effect.

This detailed summary provides a comprehensive understanding of the "Vikramankadevacharita" from a Gujarati perspective, highlighting its literary merit, historical context, and the translator's dedication to making this classic accessible.