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That which characterizes a poetry (Kavya) also characterizes the Stotra literature. Sanskrit stotras too attract the mind of connoisseur towards it at first and then hint at truth by variety of imageries, capable of producing substitute knowledge (vikalpa-jnana). The poet says regarding the eulogy of Mahadeva (1) - "If there is heap of collyrium like mountain in the vessel of ocean, if the earth is a sheet of paper for writing, the branch of the Kalpataru (all-giving tree) is pen (an object of writing) and Sarada (the Goddess of learning) herself the Foot-notes M (1) asitagirisanam syaa kajjvalam sindhupatram surataruvarasakha lekhani patramurvi likhati yadi grhitva Sarada sarvakalam tadapi tara gunanamisa param na yati Sipamahimnah Stotrah, 32. "

17 writer, all the qualities of Mahadeva can hardly be stated." The poetry, represented here, is lustrous in the colourful rays of symbol (rupaka) and exaggeration. To state that if Sarasvati (the goddess of learning) herself is the writer, the act of stating the qualities of Mahadeva still remains far from fulfillment is absurd. But the poetic imagination of Puspadanta voluntarily made this imagery, capable of producing this substitute knowledge (vikalpa-jnana). This unreality can not be ignored as false as because it is voluntarily created by poetic imagination. The reader's mind too gladly accepts it, has the taste of it and thinks itself satisfied to appreciate the predominating magnanimity of Mahadeva, the first god of all gods, underlying in it. 'd Sanskrit stotra Kavyas are the specimens of Khandakavyas. Rhetoricians divide Kavyas into two classes Mahakavya, the other khandakavya (1). The definition of Mahakavya (epic), corroborated by the sanskrit Rhetoricians, does not conform with that senge in which the Ramayana ana and the Mahabharata is called Mahakavya. The Ramayana and the b c Foot Note: (1) The definition of Khandakavya - "Khandakavyam bharet $ 0 Kavyasyaikadesanusari ca !! Also see Sahityadarpana pp. 364,

qi 18 Mahabharata have been placed in the dignified position of epic (Mahakavya) for the greatness of ideals they represent, for the high glory of the characters, delineated by them and also for the universal appeal of the feelings narrated. The nation's entirel literary sense has been given a poetic shape on the basis of two well-known narratives. Their appeal is, therefore, so deep and poignant. In the succeeding ages the makers of literature too borrowed the original subject matter of their writings from these two mahakavyas (epics). This selection of the subject matter has been corroborated by the rhetoricians too. According to Abhinavagupta, such narratives should be made the object of discussion in poetry and epic as are well-known for the sentiments they deal out. The subject matter of epic and dramas, is, therefore called "Siddharasa". (sentiment performed). Thinking it well that Kavyas should deal out rasa, (sentiment), Rhetoricians have left no scope for unlimited presence of poetic imagination in the selection of narratives (to be aelineated) in Mahakavyas and in other literary compositions. The nafrative that is imaginary, has not been accepted as the object of narration in Mahakavyas as well as in dramas and in other literary compositions. In the treatises of poetics that which is technically called Mahakavya is different from the Ramayana and the Mahabharata. Rhetoricians have stated some definitions

19 of these types of compositions as fixed(1). According to them, FOOT NOTE: (1) Svargavandho mahakavyam taitraiko nayakah surah Sadvamsah kshatriyovapi dhirodattagunanvitah bh Ekavamsabhava zupah kulaja vahavo ( 1/2) pi va Srygaravirasantaname ko (N)nge rasa isyate -Angani sarve(\)pi rasah sarve natakanvayah ova Itihasodathan vrttamanyad va sajjanasrayam U bh Catvarastasya vargah synstesvekam phalam Kabhet - am Adau namas kryas ir va vastunirdesa eva va nd shi i Kvaciniuta khazadinam satamca gunakertanam Exaittamayain padyairavasane (p) ya vittakai鈾琱 vi Natesvalpa natidirghah sarga astadhika iha Namavrttamayah krapi sargah kamcane drsyate Sargate Bharisargasya kathayah sucanam bhaket Sandhya-suryendurajaniprados adhvanta-vasarah Pratar madhyanha mrgaya-sailartuvana-sagarah Sambhoga-vipralambha ca munisvargapuradhvarah Ranaprayanopayainaman_traputrodayadayah Varnaniya yathayogam sangopanga ami iha n. Kaver vottasya va namua nayakasyetarasya va Namasya sargopadeyakathaya sarga nama tu Sahityadarpana / VI / 290

20 a mahakavya must consist of cantoes (Sarga), the subject matter to be delineated here, must be a well-known one. at its outset, blessing or salutation or something, expressive of the subject matter of discussion, must be stated. The hero of such types of compositions belongs to dhirodatta type; he hails from an aristocratic family (sad vamsa) and is a kshatriya or god. In other words, a mahakavya st much represent itself as a portraiture of an aristocratic life. It must not delineate the conflict of the hopes and aspirations of the people belonging to lower station. In order to increase the size of the main body of a Mahakavya, the description of a few subjects has been made necessary. The objects of discussion consist of the sunrise, sunset, rising of the moon, setting out of the moon, city, ocean, mountain etc. The wordy image of these objects will help express chiefly the subject matter of a Mahakavya. Usually, slokes, composed of same metres, are put in all the cantoes of a Mahakavya. A few slokas, composed of different metres, are put in the concluding portion of a Mahakavya for infusing variety in it. The creator artist has been directed to follow a few methods in order to bring and deal out variety in epic (Mahakavya): among those, composing imagery of diversified objects and arranging slokas, composed of different metres, are but a few. In addition to that, one more remarkable method has been stated - dealing out different and various

21 sentiments (rasa). Though there remains a solitary and dominant sentiment (angirasa) in a mahakavya (epic), the taste of different subsidiary sentiments (anga rasa) may be there and the representation of this variety of feelings makes its appeal more poignant by helping the subsidiary (related) rasa reveal itself dominantly. Sanskrit Poetics does not contain a detailed discussion on the definition of Khanda-kavya. It has only been stated that Kavyas or rather compositions of such types maintain a few features of Mahakavya; it can simply be said that though a Khanda Kavya does not conform with all the characteristics of a Mahakavya, a few ones are still found here. Meghaduta is the greatest specimen of Khanda-Kavya. Illuminant imageries of river, mountain and separation have been put here although its narrative (subject of discussion) has not been taken from such masterpieces of literature as the Ramayana and Mahabharata. The dominant sentiment (rasa) in such types of compositions is vipran lambha Sragara. A few other feelings added variety to this central (or dominant) feeling, basing upon which the flow of its action (or narrative) has been revolved; though they are not ksatriya or God, they belong to the class of Gods (devayoni) partially. According to the language of Poetics they are called "dipya dipya". Critics, belonging to old school, think Meghaduta as a specimen of mahakavya as there 6934

22 are a few characteristics of Mahakavya in it. A few critics of course regarded the Meghaduta as belonging to the Mahakavya (epic) type of composition by judging the importance and greatness of ideal it deals out. This conclusion of the critics is but the result of the feeling of wise connoisseur. Whatever may Sanskrit Poetics opine regarding Mahakavya (epic) and Khandakavya, we find a perfect truth by analysing the prevalent mahakavyas and Khandakavyas. Objectivity dominates in a mahakavya, hence the assemblage of imageries in different subjects increases its body and also characterizes it. As the poet of this Kavya aims at representing an eternal ideal basing on a god like character - xng or a character rare among the gods, he makes his presence Secondarily behind his own composition. The reflection of the artist's personal feeling charges it with variety. Although a Khandakavya possesses the description of objects the deep mixture of personal feelings with objectivity makes it more charming and full of variety. In a Khanda-kavya, the artist does not conceal totally the rhythm of his own joy and Sorrow in the expression of hope and despair under the idol (or) image of words (Vak-pratima). As the poet spreads all these in the outer world, we find this harmony of joy and sorrow behind these imagenies and the wordy image (Vak-pratima) too shines in newer lustre. And hence, the appeal of a

23 Khanda-kavya is so deeper and great than that of a Mahakavya. 3 掳 Sanskrit stotra kavyas too maintain the characteristics of a Khandakavya; because the creator artist represents in it the imageries of such objects as are charming and worshippable with a touch of devotion and self-feeling through the medium of his own artistic skill. In this way the appeal of Sanskrit stotras floods the readers' mind with deep and profound thoughts. To find the fountain of stotra literature it is necessary to discuss the vedic Suktas (a collection of a few hymns). The mantras, belonging to Rgveda, are devoted to the eulogy of gods imagined of natural phenomena. In giving a description of the drawn of creation, the variety of beauties that the vedic Arya Seer (Rsi) collected from the form (rupa), sentiment (rasa), perfume (gandha), touch (sparsa) and sound (Sabda) of nature, charged his narrative with profound wonder and this sense of wonder found its expression among the Rgvedic suktas. The creator could not take that natural phenomena, (object) that made a colonred shade of wonder and zeal in an Aryan picture, to be merely inanimate. He observed the flow of life in it and gradually placed it in the dignified position of divinity. In the Agnisukta of Rgveda, therefore, we find the illuminant flame and magnanuity of the burning fife in every houses, in the usasukta we find the matutinal dawn that emanates light daily and in the Suktas

24 devoted to the eulogy of the God of air i.e. vayu) we find a severely strongest and devastating storm. That which we come to know of the creator of these Suktas in the early Suktas is that he i.e. the creator intends to establish a U' coloser relation with the god he eulogizes. In such a stage like this, the creator seems to be zealot of having the compassion of nature that climbed to the dignified position of divinity, but the compassion that is not a kin to the compassion of an established person, belonging to higher station of society, towards a person of lower station of society, is illuminant sometimes in the lustre of affection, Sometimes in the lustre of love and sometimes in the lustre of reverence. In the early stage, the vedic seer, therefore, kept himself not far from God. The Gods eulogized in the stotras are not so supernatural that one has to stand outside the temple with a fightened mind to have compassion of that God, and sometimes one has to come back leaving behind a bent head in front of the closed door of the temple. This God is nearer to us, this God is easily accessible, our hopes and desires may be expressed to him and we may also relieve the pauses of life by applying the balm of his affection combined with sympathy. n The picture Agni that the vedic seer (Rsi) sketched in the first Sukta of the first mandala of Rgveda expresses 3 鈼� this intention of the artist%3B the artistic mind is free of

25 hesitation here. Agni has been represented here as a priest (Rtwik) who invokes the Gods to the sacrifice and as one possessing abundant riches(1). Agni is the invoker of Gods, performer of deeds, truthful and one having special achievement. The auspicious form of Agni that burns in every houses and gives welfare to mankind has been delineated in this Sukta. Nobody can go against that sacrifice which is pervaded by Agui and that sacrifice undoubtedly goes to the Gods. The Arya Seer (Rsi), hence, prays to the conservative Agni Foot-Note: 1. Agnimile purohitam Yajnasya devamrtvijam Hotaram ratnadhatamam. R. V. .. Samhita, 1.1.1. G.g.

26 10 Agni, the welfare that those extend to the sacrificer (Yajamana) who gives sacrificial materials (harya), belongs to thou indeed' (1). Agni ! we are coming closer to thou 00 day by day by saluting throw from the core of our hearts (2). Thou art lustrous, protector of sacrifice, an abundantly illuminator of sacrifice and one increasing in the sacrificial dome. Xxx AS a father is easily accessible to a son, thou too, O Agni, assume such form, be with us for our welfare. (3) As the concluding portion of the mantra strikes its Keynote, the concluding portion of the Sukta too expresses the real feeling of the poet. The main prayer of the creator (poet) is - As a father is easily accesible to his son so may the God Agni be to mankind. FOOT NOTE: 1. Yadanga dasuse. > R.g. Samhita. 1.1.6 n 2. Upatrage divedive R. V.Samhita, 1.1.7. 3. Sa nak piteta sunave kv. Samhita 1.1.9.

27 In the first stotra, the expression of feeling it the moment of creation is dominant. Hence, in most of the stotras of vedic literature the deep relationship between god and man has been portrayed with all effort. In this literature the beauty of (Usa) dawn, the lustre of the rising Sun, the thundering roar of rainy clouds and the devastating power of violent storm have charred the artist poet so much that he could not keep that away from themselves. So, in most of the Suktas of vedic literature as we find a sense of the poet's great wonder on the one hand, a picture of the creator's zeal and keenness in establishing a deep relation with his object of worship on the other. The mixture of erotic sentiment (rati) with wonder somewhere, somewhere affection (vatsalya), and somewhere of devotion or reverence (Bhakti), therefore, placed the stotras of vedic literature in a dignified position of a high class poetry. Gradually there has been a change of the poet's feeling. It came to the realization of the vedic seer that he had deviated far more from the nature that reached the level of divinity. So the ability to approach the god unhesitatingly lost itself. The creator-worshipper then portrayed the bright picture of enrichment and greatness of the god of eulogy. In describing the god of eulogy the flow of the sentiment of affection (vatsalya rasa) or the sense of compassion became almost dim. In the Suktas of such types, {

2 28 the greatness of gods became dominant. It is true thay they (1. e. the gods) were revealed as possessing ample supernatural powers (vibhuti) of enrichment, but they lost the close relationship with the artist (creator). Agni is represented here as the greatest of sacrificers, He becomes an object of eulogy of the listener by taking away the riches of enemies. (1) He is god, giver of joy, speakes sweetly and is a giver of worthy boon. His lustre spreads in all directions like an ass. When he becomes lustrous, all beings become frightened. (2) This close picture of Agni makes the creator frightened. The artist has, therefore, to speak 10 Agni, thou art beautiful and possess a flame, a thou art frightful and pervode everything. Thine charming and auspicious form is seen well. The night can not resist thine lustre with her darkness. (3) 0 Agni, thou become an object of comprehension at dawn, thou art the taker of sacrificial food (havya-bhoji), lustrous, of beautiful face and the killer of enemies like a sharp axe; (4) that supressing, lustrous and venerable rays of thine proceeds towards w its destination like a hayk. (5) Will you not bless us ? Shall we not be satisfied to have thine compassion ?6 Here FOOT NOTE: 1. Compare Rv. Samhita 4.6.1 Compare Ibid 4.6.5 5. Compare Ibid 4.6.10 6. Compare Ibid 4.6.11 路 2. 3. Compare Ibid 4.6.6 4. Compare Ibid 4.6.8

CAL TENNE CAL bkh 29 CENTRAL LIBRARY IVERSITY we find an eulogy of enrichment and greatness of the worshipped, but the deep tie of relationship of the mind of the artist that finds a place (in stotras) is found to be absent. This absence streamed the speed (flow) of stotra literature in a different flow and from the concluding stage of Vedic literature, the stotra literature began a new course of advancement. In course of its advancement in the new way the stotra literature reached the age of the Ramayana. In this stage, it seems too mad in its effort to eulogize the eulogizable or worshipped in different names. These hundred or thousand names, found in the stotra literature, are all significant. These names (or rather titles) express particular aspects of the person of eulogy (or worship). Though Mahadeva is named as 'Bhudhara' or 'Bhava', these two words. can not be taken as synonymous, for, the word 'Bhudhara' expresses Mahadeva 'as one who brings up' and 'Bhava' expresses 'Mahadeva as a husband'. So the poet of Agnipurana points out that truth when he says that (1) Mahadeva can only comprehend the significant suggestion of Parvati's maningful look (arsti-vibhrama) when the entity of husband FOOT NOTE : v 1. "Bhabani-chrukuti bhangi bhavo thetti na bhudharah." Agnipurana. N.

-:: 30 becomes dominant in Him. when the protective aspect (Palaka sattva) in Him suppresses his entity as a husband, the real significance of this suggestion (tifa-rasa) can not be comprehended by Mahadeva.