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In his well known work Kavyaprakasa, Mammata states that kaveh bharati - ie, speech of the poet (i.e. poetry) unfolds a creation known as poetical creation which consists of various things and situations that the poet presents to us in his work. And, poetical creation of the poet is superior to that of Brahman; because, poetical creation is not dependent on anything other than the poet's speech; Brahman on the other hand, has necessarily to depend on certain external causes in order to bring into existence his creation. 1 Verily, in the field of Sanskrit literature, any long poem cannot be regarded as a Mahakavya. However, Sanskrit rhetoricians have laid down essential characteristics which have to be incorporated in the composition of Mahakavya by a poet. The characteristics laid down by the rhetoricians like Bhamaha, Dandin, Visvanatha etc., are often referred to by the scholars to justify a poem as a Mahakavya. They are as under: Bhamaha states: sargabandho'bhineyartham tathaivakhyayikakathe | anibaddham ca kavyadi tatpunah pancadhocyate sargabandho mahakavyam mahatam ca mahacca yat | agramyasabdamarthyam ca salankaram sadasrayam || mantradutaprayanajinayakabhyudayaisca yat | pancabhih sandhibhiryuktam nativyakhyeyamrddhimat || caturvargabhidhane'pi bhuyasarthopadesakrt | yuktam lokasvabhavena rasaisca sakalaih prthak || 1. niyatikrtaniyamarahitam hradaikamayimananyaparatantram | navarasaruciram nirmitimadadhati bharati kaverjayati || Mammata, Kavyaprakasa, Vol-I, Oriental Research Institute, Mysore, 1974, I.1., p.10.

100 nayakam pragupanyasya vamsaviryasrutadibhih | na tasyaiva vadham bruyadanyotkarsabhidhitsaya || yadi kavyasarirasya na sa vyapitayesyate | na cabhyudayabhak tasya mudhadau grahanam stave || Dandin lays down : sargabandho mahakavyamucyate tasya laksanam | asirnamaskriya vastunirdeso vapi tanmukham || itihasakathodbhutamitaraddha sadasrayam | caturvargaphalopetam caturodattanayakam || nagararnavasailartucandrarkodayavarnanaih | udyanasalilakridamadhupanaratotsavaih || vipralambhairvivahaisca kumarodayavarnanaih | mantradutaprayanajinayakabhyudayairapi || alankrtamasamksiptam rasabhavanirantaram | 1 sargairanativistirnaih sravyavrttaih susandhibhih || sarvatrabhinnavrttantairupetam lokaranjakam | kavyam kalpantarasthayi jayeta sadalankrti || nyunamapyatra yaih kaiscidanngaih kavyam na dusyati | yadyupattesu sampattiraradhayati tadvidah || gunatah pragupanyasya nayakam tena vidvisam | nirakaranamityesa margah prakrtisundarah || vamsaviryasrutadini varnayitva riporapi | tajjayannayakotkarsavarnanam ca dhinoti nah || Visvanatha puts forth; 3 sargabandho mahakavyam tatraiko nayakah surah | sadvamsah ksatriyo va'pi dhirodattagunanvitah || ekavamsabhava bhupah kulaja bahavopi va | srngaravirasantanameko'ngi rasa isyate || 2. Bhamaha, Kavyalamkara. 3. Dandin, Kavyadarsa. 2

101 angani sarve'pi rasah sarve natakasandhayah | itihasodbhavam vrttamanyadva sajjanasrayam || catvarastasya vargah syustesvekam ca phalam bhavet | adau namaskriya''sirva vastunirdesa eva va || kvacinninda khaladinam satam ca gunavarnanam | ekavrttamayaih padyairavasane'nyavrttakaih || natisvalpa natidirghah sarga astadhika iha | nanavrttamayah kvapi sargah kascana drsyate || sargante bhavisargasya kathayah sucanam bhavet | sandhyasuryyendurajaniprarosadhvantavasarah || pratarmadhyahnamrgayasailavanasagarah sambhogavipralambhau ca munisvargapuradhvarah || ranaprayanopayamamantraputrodayadayah | varnaniya yathayogam sangopanga ami dasa || kavervrttasya va namna nayakasyetarasya va | namasya sargopadeyakathaya sarganama tu || 4 A close reading of the above characteristics makes it clear that Bhamaha and Dandin have many points in common, and Visvanatha has some adding points. Therefore, those characteristics may be as follows: 1) A Mahakavya should begin with either a blessing or a salutation or an indication of its subject matter which should be an exalted one, either historical or otherwise. 2) It should contain a delineation of four goals of human life and must have, as its hero a great and generous person. 3 ) It should consist of the descriptions of cities, oceans, hills, seasons, moon-rise, sun-rise, sports in gardens and in waters, drinking scenes, love-festivals, seperation of lovers, their marriage, nuptials and birth of a son, consultation with ministers sending of army-compaigns, war and hero's triumph. envoys, 4. Visvanatha, Sahityadarpana, Ed. Shesharaja Sharma Regmi, Krishnadas Academy, Varanasi, 1989, p. 590-594 [VI. 315-328]

102 4) 5) 6) 7) 8) 9) Its cantos should be eight or more, and should be continuously filled with sentiments and charming figures of speech. The cantos should not be too long, should be well set with metres pleasing to the ears, and it should end in a different metre. The virtues of the hero should be first described and then his victory over his rivals, whose qualities should be also be narrated. It should be named after the poet, or the story, or the hero or someone else; similarly the cantos may be named after the happening contained in them respectively. A canto should generally deal with one incident only and should hint at the end the incident of the following canto. The hero need not be necessarily one only; and there may be many more of the same dynasty. 10) It should contain censure of the wicked and the praise of the good. 11) Even if, any of these are wanting, still it does become acceptable as a Mahakavya if the structure of its parts is pleasing. 12) It should be simple, easy to understand and imparting advice to the readers. In his introduction to Gadyarukminisavijaya Dr. D.N. Shanbhag's critical remark may be noted here: "A perusal of these various characteristics laid down by these three oft-quoted rhetoricians will make it clear that there is remarkable flexibility and not rigidity in following these various requirements. And it should be like that. Because, in the world of poetry the poet alone is the supreme creator, preserver and destroyer.5 5. Read : i) apare kavyasamsare kavirekah prajapatih | yathasmai rocate visvam tathaiva parivartate || srngari cetkavih kavye jatam rasamayam jagat | sa eva vitaragascennarasam sarvameva tat || bhavanacetananapi cetanavaccetananyacetanavat | vyavaharayati yathestam sukavih kavye svatantrataya || Anandavardhana, Ed. K. Krishnamurthy, Karnatak University, Dharwad, 1974., p.250 ii) niyatikrtaniyamarahitam 07104497121 I-i -

103 He cannot be and should not be bound by any cut and dry tradition, literary or otherwise. But, this should not be construed that a poet can become licentious. Both these extremities are harmful to the rise of good poetry. Any good poet possesses a single motive while composing his poem, whether long or short; and that is, fulfilling his intention of composing the poem in a way pleasing to its readers or connoisseurs. Such a poet accepts the various characteristics laid down by the rhetoricians as broad guide-lines and not as every detail sacrosanct and completely binding on him. Thus, he becomes neither a blind follower not a rude violator of any literary tradition. He follows the middle path of accepting whatever enhances the beauty and charm of his poem having one eye on his purpose of poetising and another on the delight of connoisseurs. He accepts the precepts laid down by the rhetoricians because of his consideration for the connoisseurs. This is also acceptable to the rhetoricials who rather than insisting on bringing in a poem all these features, stress the need of pleasing the connoisseurs.6 All this introduction is added here to emphasize the point that Trivikrama Pandita as a true poet, has followed the rules laid down by the rhetoricians as much as suited to the central idea of the Mahakavya, i.e. singing the glories of Lord Krsna, who plays the prominent role therein. 6. However, the Usaharana commences with author's obeisance to Lord Hari : laksmilavanyapiyusapanapatrayiteksanah | saniraniradasyamah patu vo bhagavanharih || Usaharana ( I. 1 ) nyunamapyatra yaih kaiscidangaih kavyam na dusyati | i) yadyupattesu sampattiraradhayati tadvidah || kavyadarsa, I-20 ii) varnaniya yathayogyam sangopanga ami iha | sahityadarpana iii) sandhisandhyangaghatanam rasabhivyaktyapeksaya | [*] na tu kevalaya sastrasthitisampadanecchaya || dhvanyaloka iv) mukhya vyaparavisayah sukavinam rasadayah | tesam nibandhane bhavya taih sadaivapramadibhih || Ibid VI-324 III-12 v) vagvaidagdhyapradhane'pi rasa evatra jivitam | agnipurana - 33 vi) astam vastusu vaidagdhi kavye kamapi vaktratam | pradhanasamvidhanan kanamnapi kurute kavih || vakroktijivita IV-24

104 Also, the poet indicates the theme of the poem which indeed is highly exalted as it pertains to the description of the unsurpassable glories of the Supreme Hari : vijnanapatheyavatam vipascidagamtukanamahamatmasaktya | atithyakaryaya phalam rasaim kavyabhidhanam likucah prasosye || Ibid., (I.3) As regards dealing with the achievement of the four goals of life, Dharma, Artha, Kama and Moksa, the poet Trivikrama Pandita often indicates the irreflection by submitting to the Supreme Lord Hari : tamimam saranam prapta vayamadimamadarat | bhavamtam bhavasambhitibhidam bhujagasayinam || Ibid., (I.64) Here, it is implied that a person who has surrendered to the Lord becomes free from the fear of entaglement in the vicious circle of birth and death. tau srmkhalatkamsabhayadivasau vimoksya matapitarau vavamde | alimgitascasrujalabhisiktastabhyamatisneharasaturabhyam || Ibid., (I.113) This verse suggests that a person having firm faith in Lord Hari, is liberated from the fetters of Samsara. samtim nayamtya vitatam tamisramudyotayamtya haritasca sarvah | kirtya vibhamtya vibhayeva bhasvanvibho bhavanpalayati trilokim || Ibid., (II.11) This stanza implies that the Lord is the Remover of ignorance and bestower of knowledge leading to Moksa. yadapyaham jaitragunasvabhavastathapi yusmatsakha tava jeta | dipah svakaryam svayameva kartum sakto'pi vartyadimapeksate hi || supaurusanamapi sannirupyah satruksayayaupayiko'bhyupayah | akasmiki margavimarsahina naivabhibhutih prabalesu sakya || manye prayatnadapi daivamagyam yatprerito vai yatate kriyasu | yasmadihamutra ca sampadapannanyannimittam pravadamti samtah ||

105 yasyonmukham purvakrtanurupam so'tyeti sokamnidhim plaviva | paranmukham yasya tadeva so'yam majjatyagadhe plavahinapumvat || tathapi ye sadhupathatpramukta nirudhamana bhujaviryalesat | na sasvatim sampadamasrayamte praksinataila iva te pradipah || tatrastikah karmasu vaidikesu vyapetatamdro vidadhita yatnam | daivanurodhena manorathesu pradhanatamtro'bhigunaprayogam || vivicya vargatrayamapramatto grhnita mitram svajanam param va | tyajecca duraditaratsamastam payo yatha vari ca rajahamsah || tyagaprakaramscaturo vadamti nyayapravina ripusu kramena | manavakasam tritayam tu purvam manye maharau yavanesvare'smin || damdaprayogasca krtatmaraksaih karyo narairdesadasavasena | parabhavam ramdhramaveksya papah kurvamti raudrastarasa sapatnah || tatsthanametatsugamam jananam balapradam cariganasya nunam | ciram tu na stheyamihavisamkam jayo hi durgasthitinitibhajah || Ibid., (II. 24-33) These verses signify that Dharma i.e. righteous path Artha i.e. attainment of prosperity and Kama i.e. fulfilment of one's desire - should be achieved with all sense of discrimination. The Usaharanakavya (Ushaharana-kavya) consists of various descriptions: 1. The description of Dwaraka city occurs in the second canto. It indicates that the city was full of prosperity : baddhesu suddhasphatikopalena harmyesu yasya pratibimbitosthyah | raktani ratnani caramti carunyatreti lola lalana bhramamti || Ibid., ( II. 52 ) It describes that all buildings in the city were well built, and inside beautifully set crystal stones. This description runs into seventeen stanzas (45-62). 2. The description of the Milk ocean can be seen in the first canto. It represents that the Milk ocean was the treasure house of all excellences :

106 vismayadvismrtasvargavibhramenamtaratmana | tamimam jaladhisrestham dadrsustridasa muhuh || Ibid., (I.29) The Milk ocean as seen by the gods, is the house of innumerable wonders (as described from 13 th to 28 th verse). Seeing such Milk ocean, the gods forgot the joys of heaven and immersed in seeing the beauty of the Milk ocean repeatedly. 3. The description of hills occurs in the nineth canto. On the way back to Dwaraka, Aniruddha and Usa accompanied by Lord Krsna, saw the Raivataka mountain. And in this context, the poet describes the beauty of that mountain at length (from 40 th to 52 nd verse). For example, in the verse: ittham surairaharaharnigrhitacandrasrisuryasauryavibhavabhibhavabhilasat | srenyodgatairahani satrubhayalpagudhairabdairakalamalinah kimayam dyubhagah || Ibid., (IX.41) It is described that this Raivataka mountain continuously possesses the charm of pleasing moonlight. As such, it is fancied to be a part of heaven. 4. The description of moon-rise may be read in the fifth canto. When Aniruddha was at rest on the terrace of the palace in the pleasing atmosphere of the night, the poet brings in the description of the moon-rise : pravistanidesu vayassu sarvarisprhopanitadrumabijasalisu | viyoga bhitiskhalitarutabhavat priyangamalingaya rathangavallabha || Ibid., (V.42) As the moon rises, the tener beams of the moon spread from the top of the Udayacala, and therefore, the moonlight gradually spreads lustre all over. Consequently the darkness dispels, and further the full moon is perceived by the good poeple. Thus the moon adorns the sky. And this moon-rise is compared to the direct-vision of the Supreme Hari to His devotee through a gradual process of his penance.

107 5. The description of Sun-rise is read in the fifth canto. It is very natural. sarassamire surabhau manohare latagrhe pakvaphalesu cadrisu | sudhopame kotaraje madhudrave visasmarurnagarabhogamanganah || Ibid., ( V.23) It is here described that on the rise of the Sun, the young ladies liked to remain rather in the bower than in their homes for removing the heat of the Sun. 6. The description of garden-sport is the beginning section of the fifth canto. It is very captivating : sugandhapuspadrumasandamanditam vanam vrajantam tamanangacoditah | anuprapetuh pramada madalasa brhannitambastanabhinnaramhasah || Ibid., (V.2) Being joyous at Krsna's victory over Narakasura and Indra. Aniruddha went to pleasure-garden with his companions. It is said here that having seen captivating beauty of the young ladies, even the trees in the pleasure-garden lost their own charm. 7. The description of water-sport occurs in canto V (24-33). Aniruddha's water-sport was quite enchanting: suphena mandasmitasadhusatkrtih saritsakhidattatatopalasana | prabhanjanapreritamandavicibhiscakara tasam mrdupadasodhanam || Ibid., (V.25) (Being accompanied by Aniruddha, lovely young women were sporting and swimming in the river as if to win over one another. As a result being churned by water-currents, perfumed unguents applied to the breasts of the ladies got mixed in the water and the river water turned into red). 8. Trivikrama Pandita has described the drinking scene in canto V (52-57). The description runs with amorous touch : savarunipanavivrttadrstibhih sudrstibhih pistatanuh payodharaih | jagama sammohamayim mahayasa dasam prabhutapramadanubhavinim || Ibid., (V.55)

108 "Aniruddha was experiencing the joy of drinking Madhu in the company of young amorous ladies who were rubbing their breasts and tender limbs against that of Aniruddha". 9. The Usaharana offers the description of love-festival in canto V (68-78). Love sports of Usa and Aniruddha are stimulating : bhujadvayasyasya jayadhvajayitam sumadhyama madhyagata manobhuvah | nipidya vakso rabhasopaguhanapratikriyabhirdayitam jigaya sa || Ibid., (V.70) Usa, beautiful with her red-lips, cast her enticing side glance at Aniruddha, and applied her chest to him. Usa's embrace was more tight than that of Aniruddha. Thus she won Aniruddha in embrace. 10. The description of marriage occurs in three places. The first is with regard to the marriage of Lord Krsna and Rukmini: sasnusasphuranasammadoccalatkamdharam pranatimatkrtasisam | pritimanpitaramabhyapujayanmataram ca racitamjalirvarah || Ibid., (IV. 3) The second is with regard to the marriage of Pradyumna and Rukmavati : agrahitsa sahadharmacarinim rukmino'tha tanayam yaduttamah | anvavayaparisuddhisadhinim jahnavimiva payonidhih subham || Ibid., (IV.53) The third is with regard to the marriage of Aniruddha and Usa : ittham mahotsavapade vinivesya pautram saksetramatra bhagavanmahitah suhrdbhih | satsomdharatnanikarapratibandhaka srinyaradudaiksata vimanavatam padani || Ibid., (IX.63) 11. The description of love-lorncouple's nuptial is read in the Kavya in two different contexts : tam nisasu sasimamdalananam vriditam rahasi nulasamgamat | rukminim bhujagabhogakomale prapa carusayane yasonidhih || Ibid., (IV.10) This verse describes happy union of Krsna and Rukmini.

109 Similarly, the union of Usa and Aniruddha is described in canto V (69-77). sanaih sanai kampitakamrakancanapradiptakancimanimanjularavah | babhuva tasya manitasvanantare jayaya jisnorjagadajanmanah || Ibid., (V.75) Delineation is full of amorous touch. 12. The birth of a son is described in canto I ( 68-101), in canto IV (12-14 ) and again in canto IV (54-55). The poet exclaims that the entire mankind became very much delighted at the birth of Krsna. caracaranam bhutanamabhutam paramamtaram | vikasam janayamasa krsnajanmamahotsavah || Ibid., (I.98) Rukmini gave birth to Pradyumna naisa tasya suratasya varnana sakyate bhuvi janasya madrsah | yena dagdhavapuso'pi nutanam rupamavirabhavanmanobhuvah || Ibid., ( IV. 12) Though being burnt to ashes by Lord Siva, Manmatha manifests with a new and attractive form. Then Rukmavati gave birth to Aniruddha : rukmavatyaranigocarastato yajvaneva vimalena pavakah | tena sadya upadi darakah pratyanikatamasam vidaraka || Ibid., (IV.54) Just as Agni is produced from Arani (a piece of wood used for kindling the sacred fire by attrition), Aniruddha is born. 13. The consultation with the ministers occurs in canto II (24-35) and again in canto VI (7-23). In consequence of Kalayavana's attack on Mathura, Lord Krsna consulted His Yadava-ministers in Sudharma hall to arrive at stratagic actions against the enemy. Krsna as a statesman unfolds the truth. supaurusanamapi sannirupyah satruksayayaupayiko'bhyupayah | akasmiki margavimarsahina naivabhibhutih prabalesu sakya || Ibid., ( II.25)

110 "Well-planned action is always desirable for a valiant person to win over the enemies. Action without proper discrimination of knowledge, against the enemies does not yield any fruit". 14. A picturousque view of the battle is described in the canto III wherein Rukmi encounters Krsna [50-21]; and in the canto VII [1-70], and VIII [1-90] wherein an encounter between Lord Krsna and Siva, Banasura takes place. 15. At the end of the Kavya, the poet describes Lord Krsna's victory over Banasura in canto VIII (91-93) and in canto IX (1-15). After Krsna cut off all thousand arms of Bana by His Sudarsana, all gods proclaimed the words of victory. They approached Siva and Krsna and paid their respects. They showered flowers on Lord Krsna. And all demi-gods sang the imperishable glory of Lord Krsna: parimalamilitatha puspavrstirvijayasakhe vijayinyajayatajau | jagurapi garudasanasya saksatkrtacarita dyucarah sukhapracarah || Ibid., (VIII.93) This is how the poet has incorporated all necessary descriptions of a Mahakavya. In all the fights and battles, it may be observed that Lord Krsna is given prime importance and declared to be the victor. Therefore it may be remarked that Lord Krsna is the hero of the Usaharana-kavya. The poem Ushaharana is of sizable length. It runs into nine cantos. They are neither too long nor too short. The longest is canto I with 114 verses, while the shortest is canto IV with 57 verses. The poem throughout is richly developed with all sentiments and adorned with different figures of speech at appropriate places. Use of metres in the Kavya witnesses Trivikrama Pandita's vast and deep knowledge of metres. Verily, he uses different metres in composing the last verse of each of the cantos. Anustub ren In precise, the first canto runs in but ends in Puspitagra metre. So also, the second canto runs in Upajati and ends in Manjubhasini; the

111 third canto runs in and ends in Malini; the fourth canto runs in Rathoddhata and ends in Malini the fifth canto runs in Vamsastha and ends in Manjubhasini; the sixth canto runs in Upajati and ends in uspitagra; the seventh canto has often changes of different metres and ends in Manjubhasini; the eighth canto too has often changes of different metres and ends in Puspitagra; and the nineth canto being the last one, runs in Vasantatilaka and ends in Malini metre. It is however evident that Lord Krsna is the hero of the Ushaharana-kavya (Usaharanakavya). And His Virtues are described in canto I, and His victory over Kamsa, Jarasandha as well as Kalayavana are narrated in canto II. Further, the canto III in the beginning, describes Krsna's divine power, and in the end narrates His victory over Rukmi. Furthermore, the canto V in the beginning suggests Krsna's victory over Narakasura and Indra, and the canto IX presents an empressive description of His victory over Siva and Sambarasura. This poem is named after the story. And the story contains three sections, each of which narrates the marriage of Krsna-Rukmini, Pradyumna-Rukmavati and Aniruddha-Usa. But here the word should not be construed in a general sense as carrying away of Usa. As a matter of fact, the word usaharanam can be split as usa + haranam | And this compound word may be dissolved as usayah haranam or usayah aharanam | Here, both types of splitting hold good. The term is neuter Krdanta form of the root (1 st conjugation, Ubhayapadi) 'to carry away', 'to accept', 'to marry'.7 7. V.S. Apte, The Practical Sanskrit-English Dictionary, [Enlarged Edition], Motilal Banarasidass, Delhi, 1978, p. 1030 mithyaiva srih sriyammanya srimanmanyo, mrsa harih | saksatkrtya'bhimanye'ham tvam haranti sriyah sriyah || Bhattikavyam of Bhatti (with sans com) Chowkhamba Sanskrit Series office, Varanasi, 1988, V. 71, p. 222. In the verse above the word derived from the root is in the sense of to 'obtain'.

112 Here, in the light of meaning 'to marry' of the root the title may be understood as 'Usa's marriage' (with Aniruddha)' which takes place at the end of the Kavya. Though the title Usaharanam directly points to the marriage of Aniruddha and Usa occuring in the last i.e, nineth canto, it does throw its light on the whole poem upto the nineth canto as applies to all three marriages in the Kavya. 8 In his commentary on the Usaharanam, Sumatindratirtha interpreting the word in the nineth canto ³ rather prefers usayah aharanam- usaharanam and explains : kanyayah yadaharanamaniruddhakartrkam----| 9 It signifies the meaning 'obtainment of Usa (by Aniruddha)'. Thus both the types of dissolving the compound sound well with the theme of the Kavya. Krsna's role in the Kavya designates Him as Pradhana-nayaka, and the roles of Pradyumna as well as Aniruddha designate them as Upanayakas. In this manner, the enumerates the characters of three heroes Krsna, Pradyumna and Aniruddha as well as of three heroines (their wives) such as Rukmini as pradhana-nayika and Rukmavati and Usa as Upanayikas. " Vira-rasa or heroic sentiment is predominently developed in the Kavya, where as other sentiments like Srngara, Adbhuta are subordinate. The language of the poem is quite apprehensible rather to a learned man. In his colophon, sumatindratirtha says that Trivikrama Pandita's 8) pramapanarambhamaresca kurvata pranamito gadgadagirumapatih | amitranirvananirvrtatmana krtasca kanyaharanotsavastvaya || Usaharanakavya, IX 71 9) Sumatindratirtha, Usaharanavyakhya Rasikaranjani, p. 376.

113 language produces great joy to the 'Vibudhas' i.e. wise persons. also be meant as 'Sahrdayas'. It may In a nutshell, though the Ushaharanakavya does not include some characteristics of Mahakavya like, description of seasons, sending of envoys, simple style etc. the structural part of the poem is quite pleasing to Sahrdayas. It satisfies all major definitions of a Mahakavya. Hence it is justified that Usaharanakavya is certainly and admirably one of the Mahakavyas in the Sanskrit literature. 10) trivikramapadanyaso vibudhadbhutamodakrt | tacchusrusa mama param bhuyat tatparitosini || Ibid., p. 378