Studies in Jain Literature

SR No.: 001868
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2001
Total Pages: 114
Language: English
Classification: Book_English, Literature, & Story
File Size: 14 MB

Page 378

360 STUDIES IN JAIN LITERATURE sargas or asvasakas to indicate its division into different topics. It is just one long continuous composition. It is written to celebrate the defeat of a Gauda prince by the poet's patron, King Yasovarman of Kanauj, who himself, however, was overthrown and killed not much later (c. 740) by Lalitaditya of Kashmir. There is hardly any history in it. Even the name of the Gauda prince is not mentioned. The subject-matter or story is slender whereas descriptions of various topics in the wonted kavya manner occcur one after another throughout the epic. There is no division of the poem into cantos yet there is division in kulakas. It is written uniformly in one metre called gatha. If Kalidasa excels in Upama, Vakpati excels in Utpreksa. His Gaudavadha is an ocean of Utpreksas (Utpreksa-sagara). Vakpati delights in two figures Utpreksa and Upama. His kavya is much more for a man of learning and scholarship rather than for a sahrdayama man of taste, a sensitive, sympathetic and responsive reader. His style may best be described as characterised by narikelapaka. For it is very tough; its hard, external shell, like that of a coconut must first be broken to get at the sweet juice of its inside. It deserves special mention that the poet devotes 61 gathas to mangalacarana, 37 to kavi-prasamsa (praise of poets) and 150 to ways of the world. This last one is the longest of kulakas. Partiality for long compounds is responsible for rendering his poem tough. It is, however, to be remembered that Anandavardhana, the celebrated author of Dhyanyaloka is considerably influenced for his several cherished ideas to Vakpati. In this connection I would like to draw your pointed attention to the excellent paper of J. L. Masson and M. V. Patwardhan entitled : "The Dhvanyaloka and the Gaudavaho11." Anandavardhana quotes the verse : गअणं च मत्तमेहं धारालुलिअज्जुणाइँ अ वणाई / णिरहंकार-मिअंका हरंति णीलाओ अ णिसाओ / (गगनं च मत्तमेघं धारालुलितार्जुनानि च वनानि / FRESTYST ERF iiciter fien: 11) --Gaudavaho v. no. 406 For its brilliant exposition and appreciation I refer you to the Locana commentary of Abhinavagupta. Under Uddyota 4. 16 Anandavardhana says : "Because in the case of a poet who is intent upon suggesting rasas and who has imaginative genius even figures of speech which may appear difficult to create, clamour to present themselves to him." This thought is similar enough to Gaudavaho v. no. 86 : The gatha in translation means : "The minds of ordinary poets wander about frantically searching for subjectmatter. But in the case of great poets the themes themselves rush to their