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The Five Apabhramsa Verses Composed by Munja, the Paramara King of Malava.
H. C, Bhayani
Gujarat University, Ahmedabad. As an instance of the Sarnkirņa type of the Catuspadi Dhruvā used in the Apabhramsa Sanidhibandha, Hemacandra has cited under Ghandonuśāsanal 6, 22 the following verse that illustrates an admixture of two different varieties of Catuşpadi.
Cūdullau bāhoha.jalu mayaņā kamcua visamathaņa ia Mursjini raia wūhadā
pamca vi kāmahu pamca sara
'cūdullau, bahoha-jalu, nayana, kamcua and vişama-thana these five Dohās, like the five arrows of the Love-god, were composed by Muñja'.
This verse has a unique historical importance in that it records the suthor: ship of some Doha verses composed by Vāk pati Muñja, the famous Paramāra king of Mālava, who flourished during 975-995 A. D. He enjoyed great fame in legend and history for his romance, heroism, literary talent and patronage to literature. The laudatory verse gives five Pratikas or characteristic words one from each of the five verses of Muñja which had become famous among the literary circles due to their poetic excellence. It was a traditional device to record in a fool-proof manner the authorship of some isolated Muktaka-like verses. Now the problem is that of identifying the five Apabhrarśa verses credited to Muñja. Fortunately for us Hemacandra seems to have preserved them for the posterity. The cüdullau-and the bahoha-jalu verse are given in the chandonusā sana at the same place as the commemorative stanza noted above, i. e. under 6, 22.
The cüdullan verse occurs also in the Siddhahema under 8, 4, 395 with slight slight variation in the third Päda. The text according to the Chandonuša sana is as follows:
Cadullau cuņņihoisai muddhi kaoli nihittau
'1. Velankar's edition, Singhi Jaina Series No : 49, 1961, Pp, 209. 2. See e. g. Prabandhacintamani of Merututunga (ed. Muni Jinavijaya 1933); P.11,
where verses no. 10 and 19 give the pratikas or characteristic words of some famous Gāthās of Sātavāhana which have been given under verses no, 11 to 18,
९९ : अगरचन्द नाहटा अभिनन्दन-ग्रन्थ
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niddaddhan sāsāndaliņa
baha-salila-samsittan
The Siddhahema has kavoli for kaoli and sāsānala-jalajhalakkiau for the third Páda.
The verse can be translated as follows:
'O simple girl, your bracelet, positioned as it is under your cheek will be reduced to powder, having been (first heated by fiery sighs and then sprinkled with water of your tears'.
The second i. e, the bahoha-jalu verse is as follows:
tain tettiu bāhaha-jalu sihiņaitari vi na pattu chimichimivi chimivi ganidatthalili simisimivi simivi samattu
Translation : Even though it was a flood of tears, it interspace her breasts it boiled up just on the cheeks sounding chimi chimi and so disappeared sounding simi-simi'.
The remaining three verses are to be identified from among citations given in the Apabhranusa section of the Siddhahema. There is some uncertainty about the identification of the third i. e. the nayanā-verse. Probably it is the same as the one cited under 8, 4. S14 to illustrate the use of prātva. It is as follows:
amsu-jale prālva goriahe sahi uvvattā nayansara tem samnpesia
demti tiricchi ghatta para
Translation : 'It seems that the arrows of glances of the fair damsel are deflected due to the stream of tears-hence, even though charged straight, they strike sideways'.
The fourth verse, i. e. the kamcua-verse is the same as the one cited under Siddhahema 8, 4, 431. It is as follows:
pahia ditthi goradi ditthi maggu niamta amsūsasehi kamcuā
timtuvvāņa karamta
'O wayfarer, did you meet my fair lady?' 'Oh yes, I saw her gazing at the road (of your return), and drenching and drying her blouse in turn with her tears and sighs'.
Lastly, the visama-thana verse is the same as the one cited under Siddhahema 8, 4, 350 (as also under 362). It is as follows:
इतिहास और पुरातत्त्व : ९१
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phodeņti je hiadaü appaņaū tāhā parāi kavana ghện rakk hějjahu lovaho appaņā
bālalė jāyā visama thana
Translation : Those who burst open their own heart-what compassion can they have for others ? Men, be on your guards-the breasts of the young girls have become terrific.'
Apart from the evidence from the Chandonuśasana, some further evidence, although indirect, is now available in support of Muñjś authorship of the abovequoted verses. The Apabhramsa poem Jambūsāmcariya was composed by Vira in V. S. 1076 ( = 1020 A. D.)1 Vīra was connected with the places called Simdhuvarisi and Gulakheda in the Mālava country, which was ruled by King Bhoja from 1010 to 1055 A, D. Bhoja was preceded by Sindhurāja (995-1010 A. D.) and the latter by Muñja (975-995 A, D.) The Jamūsāmicariya was composed some twetyfive years after the death of Muñja. Now from this work of Vira it can be seen quite clearly that not only he was familiar with important literary works of his times including the Apabhramsa works of Puşpadanta (C. 930-980) and Svayambhū (end of the ninth century), but he was also intimately influenced by them. Jambūsāmicariya reveals numerous borrowings in ideas and words, from earlier well-known Apabhramśa, Prakrit and Sanskrit works. Thus Vira cannot but be famliiar with the Apabhramśa compositions of the royal poet Mañja, who was famous also for his literary patronage--so much so that later on it was extolled in such terms as 'gate Muñje yasaḥ.puñije niralamba sarasvati', ? i. e. 'with the departure of the glorious Munja, the Goddesss of Learning has become a homeless wanderer. And from one passage of the Jambūsāmicariya we get an actual indication of the influence of Muñja's Apabhramsa poems.3 Describing the love-lorn condition of the ladies of Rājagpha at the sight of Jambūsvåmin, the poet says:
kähi vi virahāṇal sampalittu amsujalohaliñ kavolelkhittu pallattai hatthu karamtu suņņu damtimu cüdullau cuņņu euņņu kahi vl harsyanmdaņarasu ramei laggamtu anglě chamachamachamei
(Jambūsāmcariya, 4, 11, 1-3).
Translation : 'In the case of some lady the fire of separtion so flared up that it reduced to powder the ivory bracelet that was drenched with tears due to
1. Edited by V. P. Jain, Bharatiya Jñänapitha, Varanasi, 1968. 2. Prabandhacintamani, F. 25, line 2. 3. In this connection it is also significant that Vira has stated that he was closely
associated with the state business. See Jambūsāmicariya, Prasasti, V. 5.
९२ : अगरचन्द नाहटा अभिनन्दन-ग्रन्थ
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________________ its contact with the cheek, thus rendering the hand bare. The sandal paste applied to the body of some other lady emitted sizzling sounds'. These lines clearly echo the ideas and the wording of the Cudullau-verse and the bahoha-jalu-verse of Munja quoted above. Especially Cudullau and Chamachamachamei in the Jambusamicariya passage are tell-tale words, and the sequence of the two poetic images here is the same as given in the commemorative verse recorded in the Chandonusasana. It means that to both of these authorities the two Munja stanzas were known from a source where they appeared in this very order. 1 The evidence from the Jambusamicariya confirms the Chandonusasana stanza abont Munja's authorship of particular Apabhramsa verses, and it also establishes the fact that the Cudullau-verse and the bahajalu-verse were closely associated and along with some other verses of Munja they formed a close group. 1. It should be noted that the Gatha-Dhavala no. 6 (kasarekkacakkaoete.) at the Jamtusani cariya very closely resembles the Doha-Dhavala under Siddhahema 4, 5, 350 (dhanaln bisurai Damiaho etc.). they also must have a common source. इतिहास और पुरातत्व : 93