BHARAVI THE GREAT POET OF KIRATHARJUNEEYAM SANSKRIT
श्वशुरगृहनिवासः स्वर्गतुल्यो नराणां यदि वसति दिनानि त्रीणि वा पञ्च
सप्त ।
मधुदधिघृतधाराक्षीरसारप्रवाह- स्तदुपरि दिनमेकं पादरक्षाप्रहारः ॥
*shvashuragrhanivasah svargatulyo naranam*
*yadi vasati dinani trini va pancha sapta* |
*madhudadhighrtadharakshirasarapravahah*
*tadupari dinamekam padarakshapraharah* ||{effect of living in father in
law home}
True to his name, the poet Bharavi is the shining sun in the splendid sky
of Sanskrit literature. There are poets in Sanskrit who have earned
unsullied reputation by a single work; Bharavi tops that list. His
*Kiratarjuniyam* is one among the five great poems of Sanskrit literature.
This epic-poem has inspired many poets, starting from Magha.
All married Indian men will surely nod in agreement at the import of
Bharavi’s story. What’s the connection between Bharavi and married men, you
ask? Read on.
Bharavi (originally Damodara) was a child prodigy. His untainted talent,
however, was not enough to earn him praise from his own father. Damodara
was presented to the world as a good-for-nothing dullard. With age, he
became increasingly embittered by this. It did not take long for it to turn
to rage. So much so that he planned to murder his father. One night, when
his parents were talking, he decided to eavesdrop. To his surprise, he
found out that his father was speaking highly of him. His father had only
been following the traditional saying, “Praise your children, but not in
their presence.”
This filled Damodara with remorse. He understood his father’s intentions –
it was only to ensure he didn’t become complacent. Feeling sorry, he
approached his father the next day during the study-hour and asked, “What
is the punishment for one who plots his own father’s murder?” His father
intuitively grasped where this question came from. He replied, “Six months
in his father-in-law’s house.”
Damodara left for his wife’s parents’ home immediately.
During the first few days of his stay, he enjoyed royal treatment. As days
rolled on, however, ‘royal’ gave way to ‘real.’ “A beggar lives a better
life,” he mused. When he was at his most miserable moment, his thoughts
took the shape of this verse.
Stay at one’s father-in-law’s house is heavenly
If it lasts for three, no five, no, a week, maximum
Sumptuous meals guaranteed – with milk, ghee, curd, honey
Overstay by a day – food gives way to footwear
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KIRATHARJUNEEYAM: According to various historical sources Bharavi
can be placed as early as 500 A.D. Kiratarjunya was based on an episode
from the epic *Mahabharata* <https://www.indianetzone.com/2/mahabharata.htm>.
In Mahabharata when Pandavas are sent to forest as a part of their exile it
is *Draupadi* <https://www.indianetzone.com/3/draupadi.htm> who urges them
to break the pledge. Thereafter a council is held. It has been decide that
*Arjuna* <https://www.indianetzone.com/25/arjuna_tree.htm> needs to obtain
divine weapons of *Lord Shiva*
<https://www.indianetzone.com/2/lord_shiva.htm>. Arjuna obeying the order
practices in the Himalayas. Here he struggles with a Kirata which is Shiva
himself. Lord Shiva grants the boon. Based on this theme Bharavi has penned
the epic poem.
The opening shows the skill of the poet. Bharavi begins with the return of
a spy whom *Yudhisthir* <https://www.indianetzone.com/3/yudhisthir.htm> has
sent to report on the deeds of *Duryodhana*
<https://www.indianetzone.com/3/duryodhana.htm>. Draupadi becomes anxious
and urges swift battle. Bhima offers his support. The poet's imagination is
proved by the introduction of Shiva's host; struggles under Skanda's
leadership with the hero and the chapter of the contest with magic weapons.
However it is made necessary to duplicate the episode of the force of the
penance that causes fear and evokes divine intervention. In the first two
Cantos the political principles of the day have been a major influence.
His style has a calm dignity which is attractive, while he stands outs in
the observation and record of the beauties of nature. The very first line
strikes the true note of high policy. His one verse has the first and
third, second and fourth lines identical. In another all four are alike. He
eschews long compounds though it is not essentially obscure. However he
sets a bad example by showing his fondness in grammar. He in many ways is
the beginner of mannerisms for the later poets. He takes utmost care in the
use of the narrative tenses. In metrical form Bharavi is developed as he is
in the use of the figures of speech..
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Small drops on bharavi: Sri Aurobindo says, “…Bharavi has
high qualities of grave poetic thinking and epic sublimity of
description…”(*The
Renaissance in India* CWSA. Vol. 20, p. 362). Bharavi is famous for his
*Kiratarjuniyam*, a grand poem in eighteen cantos depicting the war between
Arjuna and Lord Shiva in the guise of a Kirata (Mountaineer). This metrical
composition describes the journey of Arjuna to the mountain Indrakila, part
of Himalayas, for the propitiation of Indra and Siva and the final
attainment of the divine weapon called Pasupata from Shiva.
The date of Bharavi is not known. But as his name is found in the Aihole
inscription belonging to the beginning of fifth century A.D. so it is
certain that Bharavi lived before this period.
This poem occupies a very special place in Sanskrit literature for its
*artha-gaurava* or profundity of thought. Bharavi desired to spread the
message of heroism of the nation through this poem. The poem, from the
beginning to the end, is full of martial heroism. The style of Bharavi is
grand and majestic yet consistent with the nature of the theme. The
language is lucid and chaste. Commentator Mallinatha has compared the
poetry of Bharavi with a coconut. As one has to break the hard surface of
the coconut in order to get the flavour of it so one has to struggle hard
to get the real flavour of Bharavi’s poetry. The sumptuousness of style and
majesty of language and profundity of thought has not brought in any
element of obscurity in the expression. The poet was perhaps thinking of
his own style when Yudhisthira in the second canto speaks of the advocacy
of his brother Bhima: Lucidity has not been put aside by the words nor has
profundity of meaning been kept up; to each word there is a specific
significance assigned and yet the unity of sense has not been dispensed
with anywhere.”
*Sphutataa na padairapaakritaa na ca na svikritamarthagauravam. Racitaa
prithagarthataa na ca saamarthyamapohitam kvacit*. *Kiratarjuniyam*, 2.27
The real importance of this poem lies in the interlaced descriptions,
magnificent metaphors and similes and mastery in handling the language. The
fifteenth canto of this poem is an exhibition of verbal gymnastics where
one finds verses with one consonant, verses of the nature of a palindrome
which can be read forward and backward, verses in which all the lines have
same characters but meaning of each line is different. Here we give few
examples.
The following verse is written in such a way that here each quarter-stanza
is a palindrome; the first four syllables of the first quarter are formed
by taking the first syllables of each quarter in the same order; the first
four syllables of the second quarter are similarly the same as the second
syllables of each quarter, and so on.
*Devakanini kavade vahikasvasvakahiva Kakarebhabhare’kaka
nisvabhavyavyabhasvani*. *Kiratarjuniyam* 15.25
O man who desires war! This is that battlefield which excites even the
gods, where the battle is not of words. Here people fight and stake their
lives not for themselves but for others. This field is full of herds of
maddened elephants. Here those who are eager for battle and even those who
are not very eager, have to fight.
Now the entire verse has been written using a single consonant that is *na*.
*Na nonanunno nunneno nana nananana nanu Nunno’nunno nanunneno nanena
nunnanunnanut*. *Kiratarjuniyam* 15.15
A man is not a man who is wounded by a low man. Similarly, he is also not a
man who wounds a low man. The wounded one is not considered to be wounded
if his master is unwounded. And he who wounds a man who is already wounded,
is not a man.
Apart from this type of playing with the sounds we come across splendid
sketches in the description of nature that exhibit the genius of a true
poet.
Bharavi’s profundity of thought can be seen in the verses like that of the
following one.
When Draupadi and Bhima made strong plea for taking immediate action
against the Kauravas instead of waiting then Yudhisthira advocates patience
by saying the following words: “One must not do anything in haste…
indiscretion invites all types of dangers… the victory comes to such
persons those who do things only after proper thought.”
*Sahasa vidadhita na kriyam avivekah paramaapadaam padam Vrinute hi
vimrishyakarinam gunalubdhaah svayameva sampadah.*
*Kiratarjuniyam* 2.30
One can get lots of examples of this nature from this poem of Bharavi.
Bharavi was a very successful exponent of human emotions. His character
delineation in this poem is superb. His description of nature is remarkably
charming. His language is amazingly rich. His style is marvelous. Bharavi’s
master hand has made Kiratarjuniyam one of the greatest poems of Sanskrit
literature.
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* Bharavi - Literary works*
- Although *Kiratarjuniya* is considered his only work, he made a
significant contribution to *Sanskrit literature.*
- It's a poem composed of 18 cantos.
- *Bharavi *incorporated the most difficult Sanskrit words as well as
fine nuances of *Sanskrit grammar.*
- *Bharavi* achieved commendable directness and conciseness despite
including such intricate and fine details in the poem.
- *Bharavi* is known in Sanskrit for his epic weight of meaning in his
work, just as *Kalidasa* was known for his similes and *Dandin *for his
wordplay.
- As king* Visnuvardhana* brought them together, it is said that
Dandin's great grandfather was a friend of Bharavi.
- There was a famous commentator named* Mallinatha *who thought
Bharavi's words were difficult to understand and decipher.
- His poetry is known for its complex styles and ethereal expressions.
Bharavi is known for his "weight of meaning," (artha gauravam) much like
Kalidasa for his similes (upama) and Dain for his wordplay (padalalityam).
- Magha, a poet from the eighth century CE, was influenced by him.
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The 25th verse from the same canto is an example of the form of verse that
the Sanskrit aestheticians call *sarvatobhadra*, "good from every
direction": each line (*pada*) of it is a palindrome
<https://en.wikipedia.org/wiki/Palindrome>, and the verse is unchanged when
read vertically down or up as well:[7]
<https://en.wikipedia.org/wiki/Kir%C4%81t%C4%81rjun%C4%ABya#cite_note-warder-7>
देवाकानिनि कावादे
वाहिकास्वस्वकाहि वा ।
काकारेभभरे का का
निस्वभव्यव्यभस्वनि ॥
devākānini kāvāde
vāhikāsvasvakāhi vā ।
kākārebhabhare kā kā
nisvabhavyavyabhasvani ॥
de
vā
kā
ni
ni
kā
vā
de
vā
hi
kā
sva
sva
kā
hi
vā
kā
kā
re
bha
bha
re
kā
kā
ni
sva
bha
vya
vya
bha
sva
ni
(and the lines reversed)
ni
sva
bha
vya
vya
bha
sva
ni
kā
kā
re
bha
bha
re
kā
kā
vā
hi
kā
sva
sva
kā
hi
vā
de
vā
kā
ni
ni
kā
vā
de
*Translation*: "O man who desires war! This is that battlefield which
excites even the gods, where the battle is not of words. Here people fight
and stake their lives not for themselves but for others. This field is full
of herds of maddened elephants. Here those who are eager for battle and
even those who are not very eager, have to fight.{ Each line is a
polyndrome}
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Similarly, the 23rd verse of the fifteenth canto is the same as the 22nd
verse read backwards, syllable for syllable.[7]
<https://en.wikipedia.org/wiki/Kir%C4%81t%C4%81rjun%C4%ABya#cite_note-warder-7>
The 52nd verse of the 15th canto is an example of *Mahāyamaka*, or the
great *Yamaka*, where all four feet of the verse are the same, but each
foot has a different meaning.
Devanagari <https://en.wikipedia.org/wiki/Devanagari>
विकाशमीयुर्जगतीशमार्गणा
विकाशमीयुर्जगतीशमार्गणाः
।विकाशमीयुर्जगतीशमार्गणा विकाशमीयुर्जगतीशमार्गणाः ॥
IAST <https://en.wikipedia.org/wiki/IAST>
vikāśamīyurjagatīśamārgaṇā vikāśamīyurjagatīśamārgaṇāḥ |
vikāśamīyurjagatīśamārgaṇā vikāśamīyurjagatīśamārgaṇāḥ ॥
*Translation*: "The arrows (*mārgaṇāḥ*), of the king (*jagatīśa*)
*Arjuna* spread
out (*vikāśam īyuḥ*). The arrows (*mārgaṇāḥ*), of the lord of the earth (
*jagatīśa*) [i.e. Śiva], spread out (*vikāśam īyuḥ*). The *Gaṇa*s (gaṇāḥ)
who are the slayers of demons (*jagatīśamār*) rejoiced (*vikāśam īyuḥ*).
The seekers (*mārgaṇāḥ*) of *Śiva* (*jagatīśa*) [i.e. the deities and
sages], reached (*īyuḥ*) the sky (*vikāśam*) [to watch the battle]. " KR
IRS 18123
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