9 Types of Literature –Kavyas (Poetry-1)

R. Thiagarajan

1. Court Epics (Kavya)

The origin of the Kavya literature in Sanskrit can be traced to very great antiquity although very few specimens of the earliest stage of Kavyas are left to us. Patanjali in his Mahabhashya refers clearly to the recitations of certain poems and also to the representation of some plays, Kamsavadha and Balibandha Panini, the great grammarian is said to have authored a Mahakavya called Patalavijaya or Jambavatijaya. The theme of the poem is Sri Krishna’s conquest over Jambavan in Patala and his marriage with Jambavati, his daughter. Extracts and citations from the poem are available, though the work, as such, has not yet been discovered.

2. Kavya – prior to 2nd Cent. B.C

Tradition also ascribes to Vararuchi the composer of the Vartikas or gloss on Panini’s sutras, the authorship of many stray stanzas preserved in anthologies and of a poem called Charumati. This shows that the Kavya form existed long before the 2nd century BC. But, the major works of this class which are now available belong to a period later than the 4th or 5th century A. D.

2.1 Asvaghosha

Asvaghosha is said to be the predecessor Kalidasa who wrote Buddhacharita a Mahakavya which gives the best poetic account of the life of Buddha. Bhasa, Saumillaka and Kaviputra are the dramatists who are referred to as the predecessor of Kalidasa. Generally, it is considered that the dramatic form is a further development over the kavya form and therefore Kavyas ought to have existed long before.

2.1.1 Works of Asvaghosha

By tradition, Asvaghosha being the contemporary of King Kanishka he must be placed towards the close of the 1st century A. D. The Budhacharita, the Sundarananda and the Sutralankara are mentioned among his Kavya works. A few shorter poems like Gandistotrogatha and a drama known as Sariputraprakarna are also said to have been composed by him. Of these the Buddhacharita is the most important. This work also reflects

a  vast knowledge of Indian mythology and of pre-Buddhist philosophies, plus a court poet’s interest in love, battle, and statecraft. Only the first half of the Buddhacharita remains intact in Sanskrit. But all 28 chapters are preserved in Chinese language and Tibetan translations.

2.1.2 Buddhacharita

It is a work in 28 cantos in which Asvaghosha describes elaborately the birth of Buddha, his early life, his renunciation, his successful fight with Mara, the tempter, and the preaching of Buddha. we have only 17 cantos of the genuine work left. This occupies an important place in Sanskrit literature, because of the elaborate ornamentation of poetic art which it contains and which is so much developed in later Kavyas, There are important points of similarity between this poem and Kalidasa’s Raghuvamsa, not only in the general manner of development but also in style and ideas. So it is held by many critics that Kalidasa was much influenced by Asvaghosha.

2.2 Kalidasa the great

Kalidasa has been the national poet of India and the brightest star in the firmament of Indian Poetry for the last two thousand years. He has been unanimously acclaimed as the greatest Sanskrit poet. His genius has been by poets, critics and the literary public acknowledged, appreciated and admired alike. Kalidasa enjoys a high rank among global poets

2.2.1 Works of Kalidasa

There are about 41 works which are attributed to Kalidasa but the following seven world famous works are undoubtedly composed by him : two Lyric Poems : Ritusamhara and Meghaduta; two Mahakavyas : Kumarasambhavam and Raghuvamsham;. Three Plays: Malavikagnimitram, Vikramorvashiyam and Abhijnanashakuntalam.

2.2.2 Ritusamhara

Ritusamhara, a lyrical poem appears to be the first work of the young poet. The word samhara is used here in the sense of “collection” or “group”. The poem has six cantos for the six seasons – Here, the natural, scenic and floral beauty of six seasons, viz., the grishma (summer), varsha (rainy), sharad (autumn), hemanta (dewy), shishira (winter) and vasanta (spring) is picturesquely described.

2.2.3 Meghaduta

Kalidasa has introduced a new genre of lyrical poetry by composing Meghaduta or Megha sandesha in Mandakranta meter, wherein an exiled love – lorn yaksha at mountain Ramagiri delivers his sandesha-message to his beloved darling residing in Alakapuri (in mountain Kailasa) through a cloud – messenger. As the Megha travels across many places to deliver his message, Kalidasa’s poetry describes the glorious beauty of those places. On the pattern and imitation of Meghaduta more than one hundred Sandesha-Kavyas have been composed mostly in Mandakranta metre but none equals Meghaduta. For eg. Hamsa sandesa of Vedanta desika follows the pattern of Megahasandesha.

2.2.4 Kumarasambhava

The Kumarasambhava is a Mahakavya which describes the birth of the War-god, Skanda, and the precedents that led to it. The poem exists at present in 17 cantos; but only the first eight cantos are recognised as genuine. It is a problem why Kalidasa left it incomplete. In all probability the excessive sensuousness of the poems almost verging on sensuality, which is associated with the divine couple ought to have won the disapproval of the sober orthodox critics of the time. This view is justified by the unfavourable criticism about the poem found in Dhvanyaloka and Kavyaprakasa. As we have it, in the first eight cantos, the birth of Kumara has not been described as the title professes. It stops with the description of the wedding and the joy of the divine couple. A successor, probably observing the inconsistency between the title and the contents of the poem, might have continued it. Kumarasambhava described the penance of Parvati to win Shiva’s love, their wedlock finally resulting in the birth of Kumara Karttikeya, the warrior god who killed demon Taraka. The importance of the poem lies in the aesthetic value of the descriptions and in the depth of sensuous emotion. The description of the Himalayas which the poem opens and the account of the beauties of the forest on the advent of spring are fine specimens of the poet’s art .And the second canto in which the gods Praise Brahma is ful1 of Philosophical truths. It deserves a great appreciation for the richness of fancy and the vivid ‘descriptions found in it. Kumarasambhava is regarded as one of the greatest literary works of all times.

2.2.5 Raghuvamsa

In Raghuvamsa, Kalidasa has dealt with the heroic deeds of the solar dynasty of the ancient Indian barons in 19 cantos. It begins with the description of King Dilipa and ends with the narrative of Agnivarna. It abounds in beautiful descriptions and narratives, to name a few, go-seva by Dilipa, Raghu’s digvijaya, Indumati-svayamvara, Aja-vilapa, etc. Military expedition of Raghu described in canto IV is important as it helps us to understand the geographical and historical situation of the country in those times. Raghu’s son is Aja. The account of the Swayamvara of Indumati, Aja’s winning her and the severe battle that ensues between Aja and the disappointed lovers are given vividly in cantos VI and VII. Later there is the deep pathos of Aja’s lamentation over the death of his beloved Indumati. Aja vilapa has become a classic of its kind. This is in a way a complement to Rati vilapa in the Kumarasambhava. Aja’s son is Dasaratha and the story of his hunt resulting in a tragic blunder is told in canto IX. Then follows a beautiful devotional hymn addressed to Vishnu by the gods oppressed by Ravana, wherein the poet gives evidence of his philosophical lore. Canto XI speaks of Rama’s story up to his marriage. Cantos XII, XIII and XIV carry on the story of Ramayana. In Canto XV we have the story of Uttara Ramayana and then follow brief accounts of some of the successors of Rama. Canto XIX ends abruptly with the death of the voluptuous Agnivarna. The style of Raghuvamsa is terse and dignified. The extreme condensation and the faultless nature of the expression prove this to be the matures work of the poet. In the last few cantos a clear decline in the poetic powers is visible. Evidently by that time Kalidasa has grown too old to evince any more poetical enthusiasm. In the aghuvamsa the narrative fair rapidity not being too impeded by long descriptions. It abounds in apt and striking similes and has been rightly considered to be the best Mahakavya in Sanskrit. Sanskrit epic poetry has reached its highest perfection in the works of Kalidasa and so he represents the fullest development of that form of composition His style is easy, spontaneous and particularly devoid of long compounds. According to the technical phraseology of Sanskrit rhetoricians, the style of Kalidasa is to be classed a VaidarbhL Fundamentally, Kalidasa prefers delicate suggestion to elaborate expression; and herein consists the greatest value of his style. No doubt his poems abound in rhetorical devices and figures of speech, but they are never so artificial as to overwhelm the thought. Simile is decidedly his trump-card He rightly deserves the encomium. “Upama Kalidasasya “. His imagery which is rich and varied, and his mastery in handling the elementary emotions of man particularly love, have decidedly secured for him such a place in Indian Literature which Shakespeare occupies English Literature.

2.2.6 Expertise of Kalidasa

Kalidasa, a peerless poet par excellence, was acquainted with and affluent in various systems of Philosophy, several schools of religious beliefs Law and Polity, Economics, Dramaturgy, Erotics, sixty-four arts including music and fine arts, Zoology and Plant-science too. Numerous references to all the aforesaid vidyas are so efficiently included in his works that they bring forth the high expertise of the poet

2.2.7 Kalidasa- the nature poet

He is a poet of Nature. He has delineated everything related to culture and society prevalent in his times. According to one eulogy while once the poets were being counted, Kalidasa (as being the first) occupied the last finger. But the ring-finger remained true to its name (anamika = nameless), since his equal has not yet been found (by whom it could be occupied).

2.2.8 Kalidasa the genius

Kalidasa’s poetic genius has brought Sanskrit poetry to the highest elegance and refinement. His style is pure and chaste. It is unartificial and marked by brevity, simplicity of expression and easy flowing language characterise his works. His writings are adorned with similes unparalleled for their charm and appropriateness. Hence, the dictum “Upama kalidasasya”.

2.2.9 Deepashikha Kalidasa

This truly testifies his popularity and sovereignty. Numerous honours and titles have been conferred upon him, namely Kavikulaguru, Kavikulashiromani, Deepashikha Kalidasa, the Shakespeare of India, etc. Kalidasa used a simile in the Raghuvamsha describing Indumati’s swayamvara. Indumati, the princess was choosing her bridegroom. A number of kings were sitting and she was going around with the Varamala (marriage garland). Kalidasa says, “She was moving like a flame in a dark night. Wherever the flame approaches, the area brightens, when the flame recedes, the area darkens. Similarly, when Indumati approached a king, he brightened; when she receded, he darkened! This simile got him the title “Deepashikha. Kalidasa is capable of winning the heart of any connoisseur of literary taste on earth. He, through his writings is a true representative of India and Indian culture.

2.2.10 Kalidasa’s style

Kalidasa truly represented as ‘Shakespeare of India’. His style is the best model of the Vaidarbhi school of poetry. He is noted for his simplicity and suggestiveness. He is best known for his similes which are apt, original and striking. They are called from different spheres of knowledge, including grammar. Kalidasa’s similies are proverbial. Like Wordsworth he is one with nature. His power of observation is great. No other poet can surpass or equal Kalidasa in his style, imagination and description.

2. 3 Saundarananda

Saundarananda is the earlier work of Asvaghosha. In it he has given the story of the conversion by Buddha, of Nanda, Buddha’s step-brother.

2. 4 Buddhaghosha

The story of Buddha, with slight variations from the one which has been narrated by Asvaghosa, is described by the poet Buddhaghosa in his Kavya called Padya chudamani in 10 cantos. The language has great simplicity and charm and bears close similarity to the style of Kalidasa and Asvagbosha. He may be assigned to the close of the 4th century A.D.

2.5 Inscriptions in Kavya style

Remnants of poetry besides Asvaghosha are found in the inscriptions written in Kavya style. Most of these deal with Prasasthi or the eulogies of kings or patrons. Fleet’s collection of Indian Inscriptions contains more than 18 inscriptions of importance modelled after the Kavya style. These inscriptions range from 350 to 550 A.D. Girnar and Nasik Inscriptions belong to the very early period of the 2nd century A. D.

Web links

• www.ancient-buddhist-texts.net/Texts…/
• www.britannica.com/topic/Buddhacarita
• https://en.wikipedia.org/wiki/Aśvaghoṣa
• books.google.co.in/..
• https://en.wikipedia.org/wiki/Kālidāsa
• www.sanskritebooks.org › Free Ebooks
• https://en.wikipedia.org/wiki/Raghuvaṃśa
• www.vedabhoomi.org/MeghaSandesha.html
• https://archive.org/details/rtusamhara
• www.exoticindiaart.com/…/saundarananda
• mahakavyahttps://en.wikipedia.org/wiki/Category:Sanskrit_inscriptions