11 Types of Literature – Prose and Campu Kavyas

R. Thiagarajan

 

Prose

 

Prose works are called Gadya kavyas in Sanskrit. They come under Sravya class of the Kavyas. Dandin defines a prose as that kavya which is free from metrical lines. In the Vedic literature several Brahmanas and Upanishads are written in prose. In Puranic literature also there are some narrations that are carried on in prose. The Mahabharata preserves a few ancient stories narrated in a simple and beautiful prose style. But during the later ages prose work was used only as medium of commentary on works of philosophy and grammar. Patanjali’s Mahabhasya on the grammatical sutras of Panini, Sankara, Ramanuja and Madhva’s commentary on the Brahma sutras of Vyasa are all in prose. The Mahabhashya of Patanjali in particular is considered the best specimen of prose during the earlier period. Patanjali has referred to three prose works by name Vasavadatta, Sumanottara and Bhaimarathi but he has not the mentioned the name of authors. Vararuchi is said to have written a prose work called Charumathi and Jalhana refers to Ramila and Somila as the authors of the Prose work Sudrakakatha

 

Prose works- Gadya Kavyas

 

It is said that writing prose requires great skill and ability on the part of the author to embellish the style with figures of speech of sound and sense. Only efficient poets can write prose works of a high literary standard. In the beginning of the classical period there was a paucity of prose works. Verses or Padya kavyas were found easy to remember and prose was not. Therefore prose was not recognised to be the vehicle for the thoughts of the poets. Moreover extra-ordinary talents needed to compose prose as preponderance of compounds with epithets piled upon one another has been spoken as -the very life of prose. Little narration and more of description are considered as the characteristics of prose. It was therefore more hard for a poet to compose prose than verse and hence the saying “ Gadyam Kaveenam Nikasham Vadanti”-People say that the prose is the touch stone for Poets. Bana in his Harsacarita praises the Akhyayika and mentions one Bhattara Hariscandra without mentioning his prose. It is clear that prose was already in use, but the earliest prose, written purely with literary purpose, now available to us, belongs to 6th and 7th century A.D.

 

Development of Prose

 

Literary prose style began to develop from about the second century A.D. It was employed in popular tales, fables and romances. Even in romances the prose style is sometimes artificial. It is in fables and tales that we find a prose style that is simple and natural. The Inscriptions of Harisena and Rudradaman of the 2nd century A.D contain a few prose passages written in an ornate style which resembles the style of the later classical prose works of Bana and Dandin.

 

Katha and Akhyayika

 

According to earlier scholars like Bhamaha, prose works are divided into two classes called Kalha and Akhyayika. In Akhyayika, according to Bhamaha. The subject matter is the actual experience of the writer, the narrator being the hero himself, the story is told in pleasing style divided into chapters called Ucchvasas and containing verses in Vaktra or Aparavaktra metres. The story must indicate a future happening. scope may be allowed to poetic invention and the theme may also embrace subjects like abduction of a maiden, fighting, separation and the final triumph of the hero. This must be completely in Sanskrit

 

Subject of Katha

 

In Katha, the subject is generally an invented story, the narrator being someone other than the hero. There is no divisions called Ucchvasas, no Vaktra or Aparavaktra metres. Slokas may be composed in Arya metres. The language may be either Sanskrit or Apabhramsa

 

Criticism of Dandin

 

Dandin the author of Kavyadarsa criticises these divisions of prose into Katha and Akhyayika and considers these requirements not as essential but more or less formal. The prose works of Bana, Dandin and Subandhu are considered to be the most important prose works in Sanskrit.

 

Dasakumaracarita of Dandin

 

Dandin, the great grandson of Bharavi, has been credited with the work namely Dasakumaracarita a prose romance. Dasakumaracarita, as the title itself suggests, deals with the adventure often young men of whom three were princes and seven were the sons of ministers. This prose, as it is available to us now, consists of three parts, Purvapithika, Dasakumaracarita proper, and Uttarapithika. The Purvapithika in 5 ucchvasas deals with the birth of the ten boys and their coming under the care and protection King Rajahamsa, and the adventures of two young men. The proper Dasakumaracarita deals with the story of eight other young men. The Uttarapithika, a short chapter, contains the story of the last young man left unfinished in the Dasakumaracarita proper.

 

Dandin the master of Prose

 

Dandin is unquestionably a master in his use of language. He is perfectly capable of using simple and easy narrations. There is a saying “Dandinah Padalalityam” He is beyond doubt a master of prose style and it is a pity that his model was not taken by the later writers who chose the complicated style of Bana and Subandhu. He is assigned to later half of 6th century A.D.

 

Subandhu’s Vasavadatta

 

The next important prose work is Subandhu’s Vasavadatta. As he has been praised by Bana of 7th century A.D., in his Harsacarita. He is generally assigned to first half of 7th century A.D. His prose romance Vasavadatta describes the story of Udayana legend made famous by number of Sanskrit poets. The general theme appears to be falling in love of a passionate hero with a heroin and their final reunion after a series of romantic adventures in which dream vision, talking parrots, magic steed, voice from the heaven are all introduced though his descriptive power is appreciated by all his constant search for poetic conceits, puns and apparent incongruity makes his work more tiresome. Subandhu claims that ever letter is punning in his work. “Pratyakshara sleshamayam kavyam”

 

Banabhatta’s Kadambari

 

In his prose Harsacarita, Bana gives an account of himself and his family. He was patronised by the great king Sriharsa of 7th century A.D. In his court he wrote his great prose romance Kadambari. He has also written a historical prose Harsacarita. In literary merit Kadambari is supreme Kadambari means liquor. If liquor makes one forgets himself so does the romance Kadambari. There is a saying “Kadambari Rasajnanam Aahaaropi na rochate.” This work is rhythmical; his long compounds are clearly built All the native critics praise his gadya kavya while he is criticised by the westerners for his style. Bhushana Bana completed the second part of Kadambari.

 

Harshacarita

 

The first important of decidedly historical nature is the Harshacarita of Banabhatta belonging to 7th century A.D. Bana begins his narrative in 5 ucchvasa, but it is left unfinished. However his descriptions are elaborate and ornate and one can say that he has left no subject untouched. Hence the adage “Banocchishtam jagatsarvam” Bana gives about himself and his family in this work

 

Vikramankadevacarita

 

Towards the beginning of 11th century A.D. in the court of King Chalukya Vikramaditya. a poet by name Bilhana. patronised by the king wrote his historical kavya. Vikramankadevacarita. This poem describes the history of King Vikramankadeva. in 17 cantos. It begins with an account of some of the predecessors of Chalukya dynasty and then narrates the story of Vikrama. In Vikramankadevacharita the historical matter occupies only a minor portion. The poet mingles much of the imaginary with real. The supernatural element plays an important part in the story and the intervention of Lord Siva in the affairs of the hero is of frequent occurrences. Inspite of all these Bilhana’s Vikramankadevacarita is considered as one of the most important historical kavyas. He has also written an erotic lyric Caurapancasika and a drama by name Karnasundari.

 

Rajatarangini

 

Kalhana is the only great poet who is wholly historical in outlook. He lived in Kashmir and has recorded that he lived during the reign of Jayasimha of Kashmir between 1127 and 1159 A.D. Kalhana wrote his great work Rajatarangini describing completely the history of from the period of Asoka, till his own time. It is said Klahana took his source from the Nilamatapurana which is considered early chronicle of Kashmirian history. Even in Rajatarangini, there are some marvelous episodes which are not believable under ordinary circumstances. With all these defects Rajatarangini remains to this day the most important historical kavya in Sanskrit literature.

 

Somapalavilasa

 

In the same 12th century A.D another poet of Kashmir by name Jalhana wrote his historical kavya, Somapalavilasa, describing the history of the king Somapala who ruled Rajapuri in the neighbourhood of Kashmir.

 

Vemabhupalacarita

 

Following the examples of Bana, Vamanabatta Bana of 15th century A.D. wrote his historical kavya, Vemabhupalacarita or Vipranarayanacarita. He was also called Abinavabhatta Bana. In his poem he has described the life and victory of Vemabhupala or Vipranarayana, the poet’s patron. Himself born of Srivatsagotra, Vamana claims a kinship with Bana and styles himself as one who can refute the popular belief that Bana could not be equaled in writing beautiful prose. His imitation of Bana is very close and in spite of want of originality, Vamana’s work contains many passages of considerable merit.

 

Mathuravijaya

 

Mathuravijaya also known as Virakampanaraya carita was written about 1380A.D by Gangadevi. She was the queen of Kampana the son of Bukka I who ruled at Vijayanagar. It is incomplete. The royal poetess has described her husband’s exploits. Kampana’s expedition to the south, and his conquest of Mathura.

 

Campu Kavyas

 

A narrative in mixed prose and verse is called a campu. Powerful picturesque descriptions are expressed in verse, while the narrative part is carried on generally in prose. We have got instances in puranas where prose comes amidst verses. But there are more instances in classical period of this recognized class. It is only after the age of Maha kavyas and the prose romance that the campus could have begun to rise, since they contain a combination of enumerates the campu as a class of literature, no work of such the ornate type of prose and verse. Though, Dandin in his Kavyadarsa an early dare has come down to us. But after 10th century A.D., campus became very popular and they were largely composed in South India.

 

Trivikrama Bhatta

 

Trivikrama was the son of Devaditya, who adorned the court of Rashtrakuta King Indra III towards the beginning of the 10th century A.D. He mentions Bana in the introductory verses to his work Damayanti Katha or Nalacampu. Bhoja of 11th century A.D. the author of Sarasvatikanthabharana mentions this poet. This is an incomplete work with 7 chapters. According to this poet ordinary expressions are not appreciable for poetry and so, long and cumbersome compounds, feats of double meanings are abundantly used in this work.

 

Somadeva’s Yasastilaka campu

 

Harikesari of 10th century A.D. belonging to Chalukya race patronised the poet Somadeva who has written a campu by name Yasastilakacampu. In 7 Asvasas the book relates the story of king Yasodhara, Lord of Avanti, his conversion to Jaina faith, his assassination and rebirth. The last three chapters are the explanatory of the sacred text of Jainism. There are plenty of moral and ethical sentiments in this works which makes it more a didactic composition then a literary performance

 

Bhoja’s Ramayana campu

 

Bhoja was the celebrated king of Dhara, ruled between 1018 and 1063 AD. Ramayanacampu or Bhoja campu or campuramayana is ascribed to him. An uncertain tradition says that Bhoja composed the prose portions and Kalidasa the verses, while the later, and was temporarily recalled to life by the magical power of King Bhoja. Bhoja composed only up to the end of Sundarakanda while Lakshmanakavi of some later date wrote the Yuddhakanda. All kinds of meters are employed and the prose portion is full of long compounds after the manner of gadyakavyas. The poetic sentiments and descriptions are fine, though familiar. This campu is very popular among the lovers of Ramayana.

 

Anantabhatta’s Bharatacampu

 

This work has a fairly wide vocabulary and a great variety of figures of speech and metres. This has beautifully summarised the Mahabharata. He seems to have written Bhagavata Campu also to complete Abhinava Kalidasa.Narayan Bhattadri the author of Narayaniyam quotes frequently from this campu.He belonged to 15th cent. A.D

 

Abhinava Kalidasa’s Bhagavatacampu

 

Abhinava Kalidasa of Vallala family belonging to Andhradesa, wrote his Bhagavatacampu describing the story of Bhagavata. He has also written another campu by name Abhinava Bharatacampu. He lived during 11th century AD.

 

Cidambara Kavi’s Bhagavata Campu

 

Cidambara of 17th century AD. patronised by King Venkata – I of Vijayanagar, has composed Bhagavatacampu describing the story of Krishna ,Panchakalyanacampu describing simultaneously the stories of the marriages of Rama, Krishna, Visnu, Siva and Skanda. He has written a Mahakavya by name Raghava-pandava-yadaviya

 

Kumarasambhava campu of Raja Serfoji – I

 

Raja Serfoji I who ruled Tanjore between 1712 and 1727, A.D. a great patron of poets and an artist, wrote his Kumarasambhavacampu. It bears close similarity in language and subject matter to the poem on that topic by Kalidasa

 

Nilakanta Diksita’s Nilakantavijayacampu

 

Nilakanta Dikshita of 17th A.D composed his Nilakantavijayacampu describes in 5 chapters the story of churning of milky ocean by Devas and Asuras and the part played by Siva to save the world by taking the halahala poison which arose out of the ocean. This episode accounts for Lord Siva’s name as Nilakanta. His style in Sivalilarnava is very simple and graceful while that in the campu is full of long compounds.

 

Venkatadhvari’s Visvagunadarsacampu

 

During the later part of 18th century a poet by name Venkatadhvari son of Raghunatha and Sitamba, wrote his popular campu called Visvagunadarsacampu. Two Gandharvas, Vishvavasu and Krishanu by name, fly over the earth, in their aerial car, debating the merits and defects of several important places of pilgrimage, professions, institutions etc. One of these two Gandharvas, Krishanu always condemns them on several grounds and the other Vishvavasu after refuting him, points out the merit and the greatness. Thus, in the form of a dialogue the poet’s opinions about the brighter and darker sides of things are all brought out very powerfully. This work was intended to expose the fault in the customs and manner of his time.

 

Jivandharacampu of Harichandra

 

Jivandharacampu a jaina work by Harichandra( 10th cent A.D) tells the life story of Jivaka or Jivandhara. It is a work with artificial style.

 

Web links

  • https://en.wikipedia.org/wiki/Dashakumaracharita
  • https://en.wikipedia.org/wiki/Kadambari
  • https://en.wikipedia.org/wiki/Madura_Vijayam
  • https://www.scribd.com/doc/…/Bhoja-Champu-Champu-Ramayana
  • https://en.wikipedia.org/wiki/Champu
  • https://en.wikipedia.org/wiki/Rajatarangini
  • www.knowledgecommission.org › Culture of India
  • https://groups.google.com/d/topic/soc.culture.indian/KBYhMesmi6k