![]() Cover page of
Śrībhārgavarāghavīyam, first edition | |
Author | Jagadguru Rāmabhadrācārya |
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Original title | Śrībhārgavarāghavīyam |
Language | Sanskrit |
Genre | Epic Poetry |
Publisher | Jagadguru Rambhadracharya Handicapped University |
Publication date | 21 October 2002 |
Publication place | India |
Media type | Print (hardcover) |
Pages | 512 pp (first edition) |
![]() Rambhadracharya |
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Śrībhārgavarāghavīyam ( Sanskrit: श्रीभार्गवराघवीयम्) (2002), literally Of Paraśurāma and Rāma, is a Sanskrit epic poem ( Mahākāvya) composed by Jagadguru Rambhadracharya (1950–). It consists of 2121 verses in 40 Sanskrit and Prakrit metres and is divided into 21 cantos (Sargas) of 101 verses each. [1] The epic is the narrative of the two Rāma Avatars – Paraśurāma and Rāma, which is found in the Rāmāyaṇa and other Hindu scriptures. Bhārgava refers to Paraśurāma, as he incarnated in the family of the sage Bhṛgu, while Rāghava refers to Rāma as he incarnated in the royal dynasty of king Raghu. For the work, the poet was awarded the Sahitya Akademi Award for Sanskrit in 2005, [2] and several other awards.
A copy of the epic with a Hindi commentary by the poet himself was published by the Jagadguru Rambhadracharya Handicapped University, Chitrakuta, Uttar Pradesh. The book was released by the then prime minister of India, Atal Bihari Vajpayee on 30 October 2002.[ citation needed]
Jagadguru Rambhadracharya composed the epic in 2002 at Chitrakuta during his sixth six-month Payovrata (milk-only diet). [3] The poet chose 21 as the number of cantos due to several reasons. He composed the epic at the beginning of the 21st century, and it was the first Sanskrit epic to be composed in the 21st century. The number 21 is also associated with the narrative of the epic. Reṇukā, the mother of Paraśurāma, beats her chest 21 times after the Haihaya kings murder her husband Jamadagni. Subsequently, Paraśurāma annihilates the Kṣatriyas 21 times from the earth. One more reason cited by the poet is that the previous Sanskrit epics which are included in the Laghutrayī and Bṛhattrayī – Meghadūtam, Kumārasambhavam, Kirātārjunīyam, Raghuvaṃśam, Śiśupālavadham and Naiṣadhīyacaritam – were composed in 2, 8, 18, 19, 20 and 22 cantos respectively; and the number 21 was missing from this sequence. [4] [5] The poet says that he composed the work as he intended to sing of both the Rāmas – Paraśurāma and Rāma, with the former being the Avatāra, the follower and the Brāhmaṇa and the latter being the Avatārin (source of the Avatār), the leader and the Kṣatriya. [4] Although there is no formal division in the epic, the poet indicates that the epic consists of a first part of nine cantos describing the nine qualities of Paraśurāma, and a second part of 12 cantos in which the brave and noble (Dhīrodātta) protagonist of the epic Rāma is presented with Sītā being the lead female character. [1] [4]
Most of the events described in fifteen cantos of the epic can be found in the Hindu scriptures including Vālmīki's Rāmāyaṇa, Tulasīdāsa's Rāmacaritamānasa, Śrīmadbhāgavata, Brahmavaivartapurāṇa, Prasannarāghava (a play by Jayadeva) and Satyopākhyāna. The narrative of six cantos is original composition by the poet. [6]
The epic is composed in 21 cantos of 101 verses each. The first nine cantos describe the incarnation of Paraśurāma, his learning from the god Śiva on mount Kailāsa, the execution of his father's command to kill his mother and three brothers and their subsequent resurrection, his battle with the thousand-armed king Sahasrārjuna, the extermination of Kṣatriya ("warrior") race 21 times from the earth by him, and his confrontation with Śiva's son and the god of wisdom, Gaṇeśa. The next five cantos describe the incarnation of Rāma and his consort Sītā, and their child sports (Līlā). The final seven cantos follow the Bālakāṇḍa of the Rāmacaritamānasa, starting from Viśvāmitra's journey to Daśaratha's capital city Ayodhyā and ending with the marriage rites of the four sons of Daśaratha – Rāma being the eldest – in Mithilā.[ citation needed]
The summaries of the 21 cantos are given below. [7]
A comprehensive listing of the figures of speech used in Śrībhārgavarāghavīyam is provided by Dinkar. [8] Some examples of figures of speech used in the epic are given below.
An example use of alliteration (14.28) from the praise of Sītā by Paraśurāma has eleven consecutive words beginning with the same letter – [9]
Devanagari
रामप्राणप्रिये रामे रमे राजीवलोचने ।
राहि राज्ञि रतिं रम्यां रामे राजनि राघवे ॥
IAST
rāmaprāṇapriye rāme rame rājīvalocane ।
rāhi rājñi ratiṃ ramyāṃ rāme rājani rāghave ॥
O the one who is as dear as life to Rāma, O the delightful one, O the power of Rāma, O the one with eyes like lotuses, O queen, O Sītā, grant me the most beautiful devotion towards Rāma. ॥ 14.28 ॥
Two examples of use of alliteration mixed with Yamaka (6.3 and 16.84) occur in the sixth and sixteenth cantos - [10]
Devanagari
स ब्रह्मचारी निजधर्मचारी स्वकर्मचारी च न चाभिचारी ।
चारी सतां चेतसि नातिचारी स चापचारी स न चापचारी ॥
IAST
sa brahmacārī nijadharmacārī svakarmacārī ca na cābhicārī ।
cārī satāṃ cetasi nāticārī sa cāpacārī sa na cāpacārī ॥
He (Paraśurāma) observed celibacy, observed Dharma, observed his duties, and did not act wrongly [towards anyone]. He moved about (lived) in the hearts of the virtuous, and never transgressed. He roamed about with his bow, but never hurt [anyone]. ॥ 6.3 ॥
Devanagari
वीक्ष्य तां वीक्षणीयाम्बुजास्यश्रियं
स्वश्रियं श्रीश्रियं ब्रह्मविद्याश्रियम् ।
धीधियं ह्रीह्रियं भूभुवं भूभुवं
राघवः प्राह सल्लक्षणं लक्ष्मणम् ॥
IAST
vīkṣya tāṃ vīkṣaṇīyāmbujāsyaśriyaṃ
svaśriyaṃ śrīśriyaṃ brahmavidyāśriyam ।
dhīdhiyaṃ hrīhriyaṃ bhūbhuvaṃ bhūbhuvaṃ
rāghavaḥ prāha sallakṣaṇaṃ lakṣmaṇam ॥
On observing his Mahālakṣmī, the beauty of whose face was like that of a spectacular lotus, the brilliance of brilliance, the Lakṣmī (prosperity) of Lakṣmī (prosperity), the brilliance of the knowledge of Brahman, the intellect of intellect, the modesty of modesty, the earth (bearer) of the earth, and the daughter of the earth, Rāma said to Lakṣmaṇa, characterized by good qualities. ॥ 16.84 ॥
In the following verse (6.97), the poet describes how Sahasrārjuna is killed by Paraśurāma, using the metaphor (Rūpaka) of a priest performing a fire sacrifice (Yajña). [11]
Devanagari
धनुःस्रुगभिमेदुरे भृगुपकोपवैश्वानरे
रणाङ्गणसुचत्वरे सुभटराववेदस्वरे ।
शराहुतिमनोहरे नृपतिकाष्ठसञ्जागरे
सहस्रभुजमध्वरे पशुमिवाजुहोद्भार्गवः ॥
IAST
dhanuḥsrugabhimedure bhṛgupakopavaiśvānare
raṇāṅgaṇasucatvare subhaṭarāvavedasvare ।
śarāhutimanohare nṛpatikāṣṭhasañjāgare
sahasrabhujamadhvare paśumivājuhodbhārgavaḥ ॥
In the great fire-sacrifice of the battle – in which the bow was the beautiful ladle, Paraśurāma's anger was the fire, the battlefield was the quadrangular fire-place (Vedikā or altar), the cries of the brave soldiers were the Vedic chants, the arrows of Paraśurāma were the fascinating oblations (Āhutis), and the kings were the wood – Paraśurāma sacrificed Sahasrārjuna like a sacrifice animal. ॥ 6.97 ॥
Yamaka is a kind of pun in Sanskrit and Prakrit where the same word occurs more than once and each occurrence of the word has a unique meaning. The following verse (3.26) from the third canto of the epic has the same four feet, but the same syllables stand for four different meanings, one meaning in each foot. [12] Such use of quadruple Yamaka spanning the entire verse is also called Mahāyamaka.
Devanagari
ललाममाधुर्यसुधाभिरामकं ललाममाधुर्यसुधाभिरामकम् ।
ललाममाधुर्यसुधाभिरामकं ललाममाधुर्यसुधाभिरामकम् ॥IAST
lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam ।
lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam ॥
Him, who was with the charm of the Tripuṇḍra and whose favourite deity was Rāma; him, who was bearing the axle of the lustre of the ornament [in the form of the nascent moon] and who was agreeable by this joy; him, who was the protector of the bearer of the onus of Dharma with the power of his eminence; and him, who was endowed with the refuge of Rāma owing to the pleasantness of the resplendence of the bull-sign which stands for righteousness. ॥ 3.26 ॥
In the Mudrā figure of speech, the metre used to compose the verse is indicated by the use of its name in the verse. This figure of speech is used eight times in the epic, with seven different metres as shown below.
Verse | Metre | Quarter | Devanagari | IAST | Meaning of Mudrā word |
---|---|---|---|---|---|
8.100 | Śikhariṇī | 4 | निजारामो रामो विलसति महेन्द्रे शिखरिणि॥ | nijārāmo rāmo vilasati mahendre śikhariṇi॥ | on the mountain |
11.83 | Śikhariṇī | 4 | जगौ द्यष्टौ भक्त्या रघुतिलककीर्तीः शिखरिणीः॥ | jagau dyaṣṭau bhaktyā raghutilakakīrtīḥ śikhariṇīḥ॥ | Śikhariṇī verses |
12.45 | Āryā | 1 | आर्ये रघुवरभार्ये | ārye raghuvarabhārye | O Noble woman! |
16.76 | Sragviṇī | 2 | भव्यनीलाम्बरा स्त्रीवरा स्रग्विणी। | bhavyanīlāmbarā strīvarā sragviṇī। | bearing a garland |
17.97 | Śārdūlavikrīḍitam | 4 | त्रैलोक्ये च विजृम्भितं हरियशःशार्दूलविक्रीडितम्॥ | trailokye ca vijṛmbhitaṃ hariyaśaḥśārdūlavikrīḍitam॥ | act like that of a lion |
17.100 | Pṛthvī | 4 | नमोऽस्त्विति समभ्यधाद्रघुवराय पृथ्वीपतिः॥ | namo'stviti samabhyadhādraghuvarāya pṛthvīpatiḥ॥ | earth |
19.85 | Puṣpitāgrā | 4 | त्रिजगति राम रमस्व पुष्पिताग्राम्॥ | trijagati rāma ramasva puṣpitāgrām॥ | flowered |
20.91 | Kanakamañjarī | 1 | कनकमञ्जरीकान्तिवल्लरी- | kanakamañjarīkāntivallarī- | golden creeper |
The poet uses as many as 40 Sanskrit and Prakrit metres, namely Acaladhṛti (Gītyāryā), Anuṣṭubh, Āryā, Indirā (Kanakamañjarī), Indravajrā, Indravaṃśā, Upajāti, Upendravajrā, Upodgatā (Mālabhāriṇī or Vasantamālikā, a type of Aupacchandasika), Kavitta, Kirīṭa (Meduradanta, a type of Sapādikā), Kokilaka (Nārkuṭika), Gītaka, Ghanākṣarī, Toṭaka, Duramilā (Dvimilā, a type of Sapādikā), Dodhaka, Drutavilambita, Nagasvarūpaṇī (Pañcacāmara), Puṣpitāgrā (a type of Aupacchandasika), Prthivī, Praharṣiṇī, Bhjaṅgaprayāta, Mattagajendra (a type of Sapādikā), Mandākrāntā, Mālinī, Rathoddhatā, Vaṃśastha, Vasantatilakā, Śārdūlavikrīḍita, Śālinī, Śikhariṇī, Śaṭpada, Sundarī (Vaitālika or Vaitālīya), Surabhi (a type of Aupacchandasika), Sragdharā, Sragviṇi, Svāgatā, Harigītaka, and Hariṇī.
There are seven verses in the seventh canto (7.11 to 7.17) of Śrībhārgavarāghavīyam composed in the Acaladhṛti (Gītyāryā) metre, which consists of only the short syllables in Sanskrit. The poet remarks that Paraśurāma extols the forest of Citrakūṭa in short syllables only, due to the feeling of humility. [13] Two examples are –
Devanagari
त्रिजगदवन हतहरिजननिधुवन
निजवनरुचिजितशतशतविधुवन ।
तरुवरविभवविनतसुरवरवन
जयति विरतिघन इव रघुवरवन ॥
मदनमथन सुखसदन विधुवदन-
गदितविमलवरविरुद कलिकदन ।
शमदमनियममहित मुनिजनधन
लससि विबुधमणिरिव हरिपरिजन ॥
IAST
trijagadavana hataharijananidhuvana
nijavanarucijitaśataśatavidhuvana ।
taruvaravibhavavinatasuravaravana
jayati viratighana iva raghuvaravana ॥
madanamathana sukhasadana vidhuvadana-
gaditavimalavaraviruda kalikadana ।
śamadamaniyamamahita munijanadhana
lasasi vibudhamaṇiriva hariparijana ॥
O the protector of the three worlds; O the remover of the mortal pleasures of the devotees of the Hari; O the one, the resplendence of whose waters win over the brilliance of hundreds of moons; O the one who makes the Nandanavana (forest of the deities) bow down with the majesty of its great trees; O the forest of best among the descendants of Rāghu, you shine forth like the dense treasure of abstention. ॥ 7.11 ॥
O the abode of pleasure for the tormentor of lust (Śiva); O the one whose immaculate and great panegyric has been sung by the one having the face of the moon (Rāma); O the destroyer of the [vices of] Kaliyuga; O the one who is celebrated by the [virtues like] tranquility, self-restraint and piety; O the wealth of the sages; O the attendant of Rāma; you are resplendent like the Cintāmaṇi gem. ॥ 7.12 ॥
The 20th canto has 72 Sanskrit verses (20.1–20.72) composed in Prakrit metres, namely Kirīṭa (Meduradanta, a type of Sapādikā), Ghanākṣarī, Duramilā (Dvimilā, a type of Sapādikā), Mattagajendra (a type of Sapādikā), Śaṭpada and Harigītaka. The language of the verses in Sanskrit, but the metres and the prosody rules follow Prakrit prosody. An example is the following verse (20.13) in the Ghanākṣarī metre, which consists of 32 syllables in every foot.
Devanagari
अशरणशरण प्रणतभयदरण
धरणिभरहरण धरणितनयावरण
जनसुखकरण तरणिकुलभरण
कमलमृदुचरण द्विजाङ्गनासमुद्धरण ।
त्रिभुवनभरण दनुजकुलमरण
निशितशरशरण दलितदशमुखरण
भृगुभवचातकनवीनजलधर राम
विहर मनसि सह सीतया जनाभरण ॥
IAST
aśaraṇaśaraṇa praṇatabhayadaraṇa
dharaṇibharaharaṇa dharaṇitanayāvaraṇa
janasukhakaraṇa taraṇikulabharaṇa
kamalamṛducaraṇa dvijāṅganāsamuddharaṇa ।
tribhuvanabharaṇa danujakulamaraṇa
niśitaśaraśaraṇa dalitadaśamukharaṇa
bhṛgubhavacātakanavīnajaladhara rāma
vihara manasi saha sītayā janābharaṇa ॥
O the refuge of those without refuge, O the destroyer of the fear of those who bow down [to you], O the remover of the earth's burden, O the paramour of the daughter of the earth, O the cause of pleasure in devotees, O the nourisher of the dynasty of the sun, O the one with feet as delicate as the lotus, O the redeemer of the wife of the Brahmin (Ahalyā), O the nourisher of the three worlds, O the slayer of the clan of demons, O the bearer of sharp arrows, O the destroyer of Rāvaṇa in battle, O the new cloud for the Cātaka bird in the form of the descendant of Bhṛgu (Paraśurāma), O Rāma, O the ornament of devotees, take pleasure in my mind with Sītā. ॥ 20.13 ॥
The principal Rasa (emotion or mood) of Śrībhārgavarāghavīyam is the Vīra Rasa (the emotion of heroism). Like the previously composed Mahākāvyas, Śrībhārgavarāghavīyam has all the eight Rasas as enunciated by Bharata Muni. These Rasas are – Śringāra (eros and beauty), Vīra (heroism or bravery), Hāsya (mirth), Raudra (fury), Karuṇa (compassion), Bībhatsa (disgust), Bhayānaka (horror), Adbhuta (amazement). Apart from this Śrībhārgavarāghavīyam also has the ninth Rasa as propounded by Mammaṭa – the Śānta Rasa (calmness), and the three new Rasas as – Bhakti (devotion), Vatsala (parental love) and Preyas (love).
Like the 10th canto of Śrīmad Bhāgavatam and Bālakāṇḍa of the Rāmacaritamānasa, twelve verses in the seventeenth canto (17.42–17.53) of Śrībhārgavarāghavīyam have all the twelve Rasas used in the same context. [14] Here the poet describes how twelve different groups of people in the assembly at Mithilā look at Rāma, each group feeling one of the above twelve emotions. The context is the same as in Rāmacaritamānasa.
Śrībhārgavarāghavīyam has three verses composed using only a single consonant (Ekākṣariślokas). The three Ekākṣariślokas are in the 20th canto of Śrībhārgavarāghavīyam (20.92–20.94). [15]
Devanagari
कः कौ के केककेकाकः काककाकाककः ककः ।
काकः काकः ककः काकः कुकाकः काककः कुकः ॥
काककाक ककाकाक कुकाकाक ककाक क ।
कुककाकाक काकाक कौकाकाक कुकाकक ॥
लोलालालीललालोल लीलालालाललालल ।
लेलेलेल ललालील लाल लोलील लालल ॥
IAST
kaḥ kau ke kekakekākaḥ kākakākākakaḥ kakaḥ ।
kākaḥ kākaḥ kakaḥ kākaḥ kukākaḥ kākakaḥ kukaḥ ॥
kākakāka kakākāka kukākāka kakāka ka ।
kukakākāka kākāka kaukākāka kukākaka ॥
lolālālīlalālola līlālālālalālala ।
lelelela lalālīla lāla lolīla lālala ॥
The Supreme God (kaḥ) (Rāma) [is resplendent] on [both] the earth (kau) and in Sāketaloka (ke); from him there is pleasure in the universe and in the sound of the peacock (kekakekākaḥ); he takes pleasure and bliss in the caw of the [Kākabhuśuṇḍi] crow (kākakākākakaḥ); from him there is pleasure for all the worlds (kakaḥ); for him the pain [of exile] is a pleasure (kākaḥ); his crow ([Kākabhuśuṇḍi]) is praiseworthy (kākaḥ); from him there is pleasure for Brahmā (kakaḥ); he calls out [to the devotees] (kākaḥ); from him there is pleasure for Kukā or Sītā (kukākaḥ); he calls out to the [Kākabhuśuṇḍi] crow (kākakaḥ); and from him there are worldly fruits and the bliss of liberation (kukaḥ). ॥ 20.92 ॥
O the one who from whom there was pain on the head of the [Jayanta] crow (kākakāka); O the one from whom there is pleasure in [all] beings (kaka); please come, please come (āka āka); O the one from whom there is pleasure for Sītā (kukāka); please come (āka); O the one from whom there is pleasure for the universe (kaka); please come (āka); O Lord (ka); O one who invites to himself those who find pleasure in the [mortal] world (kukaka); please come, please come (āka āka); O the one from whom there is pleasure for both Brahmā and Viṣṇu (kāka); please come (āka); O the one from whom there is pleasure on the earth (kauka); please come, please come (āka āka); O the one who is called out to [for protection] by the evil crow [Jayanta] (kukākaka), [please come]. ॥ 20.93 ॥
O the one who is playful with a row of locks of wavering hair (lolālālīlala); O the one who never changes (alola); O the one whose mouth is full of saliva in the pastimes [as a child] (līlālālālalālala); O the one who accepts the wealth of earth (Sītā) in the sport [of breaking the bow of Śiva] (lelelela); O the one who destroys the multitude of worldly desires of mortals (lalālīla); O the child [form of Rāma] (lāla); O the one who destroys the fickle-minded nature of the being (lolīla); [may you ever] delight [in my mind] (lālala). ॥ 20.94 ॥
Some features of the epic compared with previous Mahākāvyas are given below
Epic | Composer | Dated | Number of cantos | Number of verses | Number of metres used | Word at each canto-end |
---|---|---|---|---|---|---|
Kumārasambhavam | Kālidāsa | 5th c. CE | 8 | 613 | 8 | — |
Bhaṭṭikāvyam | Bhaṭṭi | 7th c. CE | 21 | 1602 | — | — |
Raghuvaṃśam | Kālidāsa | 5th c. CE | 19 | 1572 | 21 | — |
Kirātārjunīyam | Bhāravi | 6th c. CE | 18 | 1040 | 12 | Lakṣmī |
Śiśupālavadham | Māgha | 7th/8th c. CE | 20 | 1645 | 16 | Śrī |
Naiṣadhīyacaritam | Śrīharṣa | 12th c. CE | 22 | 2828 | 19 | Nisargojjvala |
Śrībhārgavarāghavīyam | Rāmabhadrācārya | 21st c. CE | 21 | 2121 | 40 | Śrī |
Abhiraj Rajendra Mishra, former Vice-Chancellor of Sampurnanand Sanskrit University and winner of Sahitya Akademi Award in Sanskrit, writes in the introduction of the epic that in an age where the prevalence of Sanskrit is rare, several works in recent past have been published as epics which are devoid of the traditional features of a Sanskrit Mahākāvya, and have errors in grammar at many places. He thinks of Śrībhārgavarāghavīyam as an exception. He further says that this is an epic which nourishes the tradition of Ṛṣis, and with this composition the contemporary Sanskrit literature has been blessed. [16]
Yogeshchandra Dubey, professor and head of department of Sanskrit at the Jagadguru Rambhadracharya Handicapped University, [17] writes in the Publisher's Note at the beginning of the book that he views Śrībhārgavarāghavīyam as having even more special qualities and features than the epic works of Māgha, Bhāravi, Śrīharṣa and Kālidāsa. [18] At the end of the Publisher's Note, he presents a metaphor- [19]
In the Prayāga in the form of this epic, there is the Triveṇī Saṅgama of the Gaṅgā in the form of Laghutrayī and the Yamunā in the form of Bṛhattrayī, with the Sarasvatī in the form of the speech of Rāmbhadrācārya.
Dr. Vagish Dinkar, professor and head of department of Sanskrit at the R.S.S. PG College ( Ghaziabad), [20] and the author of the critique on the epic titled Śrībhārgavarāghavīyam Mīmāṃsā, writes at the conclusion of his critique that Śrībhārgavarāghavīyam is worthy of being considered with the Bṛhattrayī as the Catuṣṭayī (the quartet). [21]
The epic Śrībhārgavarāghavīyam showcases the invigoration of the essence of the Vedas, and by composing it, Rāmbhadrācārya will achieve eternal fame like Kālidāsa and Tulasīdāsa. ... This best amongst the best epic is capable of endowing the previously composed Trayī works by the nomenclature of Catuṣṭayī.
Elsewhere, in award citations and in the media, the work has been described as time-conquering and outstanding. [1] [22]
The poet has been given several rewards for the composition of the epic since 2002. Some of them include –
![]() Cover page of
Śrībhārgavarāghavīyam, first edition | |
Author | Jagadguru Rāmabhadrācārya |
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Original title | Śrībhārgavarāghavīyam |
Language | Sanskrit |
Genre | Epic Poetry |
Publisher | Jagadguru Rambhadracharya Handicapped University |
Publication date | 21 October 2002 |
Publication place | India |
Media type | Print (hardcover) |
Pages | 512 pp (first edition) |
![]() Rambhadracharya |
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Śrībhārgavarāghavīyam ( Sanskrit: श्रीभार्गवराघवीयम्) (2002), literally Of Paraśurāma and Rāma, is a Sanskrit epic poem ( Mahākāvya) composed by Jagadguru Rambhadracharya (1950–). It consists of 2121 verses in 40 Sanskrit and Prakrit metres and is divided into 21 cantos (Sargas) of 101 verses each. [1] The epic is the narrative of the two Rāma Avatars – Paraśurāma and Rāma, which is found in the Rāmāyaṇa and other Hindu scriptures. Bhārgava refers to Paraśurāma, as he incarnated in the family of the sage Bhṛgu, while Rāghava refers to Rāma as he incarnated in the royal dynasty of king Raghu. For the work, the poet was awarded the Sahitya Akademi Award for Sanskrit in 2005, [2] and several other awards.
A copy of the epic with a Hindi commentary by the poet himself was published by the Jagadguru Rambhadracharya Handicapped University, Chitrakuta, Uttar Pradesh. The book was released by the then prime minister of India, Atal Bihari Vajpayee on 30 October 2002.[ citation needed]
Jagadguru Rambhadracharya composed the epic in 2002 at Chitrakuta during his sixth six-month Payovrata (milk-only diet). [3] The poet chose 21 as the number of cantos due to several reasons. He composed the epic at the beginning of the 21st century, and it was the first Sanskrit epic to be composed in the 21st century. The number 21 is also associated with the narrative of the epic. Reṇukā, the mother of Paraśurāma, beats her chest 21 times after the Haihaya kings murder her husband Jamadagni. Subsequently, Paraśurāma annihilates the Kṣatriyas 21 times from the earth. One more reason cited by the poet is that the previous Sanskrit epics which are included in the Laghutrayī and Bṛhattrayī – Meghadūtam, Kumārasambhavam, Kirātārjunīyam, Raghuvaṃśam, Śiśupālavadham and Naiṣadhīyacaritam – were composed in 2, 8, 18, 19, 20 and 22 cantos respectively; and the number 21 was missing from this sequence. [4] [5] The poet says that he composed the work as he intended to sing of both the Rāmas – Paraśurāma and Rāma, with the former being the Avatāra, the follower and the Brāhmaṇa and the latter being the Avatārin (source of the Avatār), the leader and the Kṣatriya. [4] Although there is no formal division in the epic, the poet indicates that the epic consists of a first part of nine cantos describing the nine qualities of Paraśurāma, and a second part of 12 cantos in which the brave and noble (Dhīrodātta) protagonist of the epic Rāma is presented with Sītā being the lead female character. [1] [4]
Most of the events described in fifteen cantos of the epic can be found in the Hindu scriptures including Vālmīki's Rāmāyaṇa, Tulasīdāsa's Rāmacaritamānasa, Śrīmadbhāgavata, Brahmavaivartapurāṇa, Prasannarāghava (a play by Jayadeva) and Satyopākhyāna. The narrative of six cantos is original composition by the poet. [6]
The epic is composed in 21 cantos of 101 verses each. The first nine cantos describe the incarnation of Paraśurāma, his learning from the god Śiva on mount Kailāsa, the execution of his father's command to kill his mother and three brothers and their subsequent resurrection, his battle with the thousand-armed king Sahasrārjuna, the extermination of Kṣatriya ("warrior") race 21 times from the earth by him, and his confrontation with Śiva's son and the god of wisdom, Gaṇeśa. The next five cantos describe the incarnation of Rāma and his consort Sītā, and their child sports (Līlā). The final seven cantos follow the Bālakāṇḍa of the Rāmacaritamānasa, starting from Viśvāmitra's journey to Daśaratha's capital city Ayodhyā and ending with the marriage rites of the four sons of Daśaratha – Rāma being the eldest – in Mithilā.[ citation needed]
The summaries of the 21 cantos are given below. [7]
A comprehensive listing of the figures of speech used in Śrībhārgavarāghavīyam is provided by Dinkar. [8] Some examples of figures of speech used in the epic are given below.
An example use of alliteration (14.28) from the praise of Sītā by Paraśurāma has eleven consecutive words beginning with the same letter – [9]
Devanagari
रामप्राणप्रिये रामे रमे राजीवलोचने ।
राहि राज्ञि रतिं रम्यां रामे राजनि राघवे ॥
IAST
rāmaprāṇapriye rāme rame rājīvalocane ।
rāhi rājñi ratiṃ ramyāṃ rāme rājani rāghave ॥
O the one who is as dear as life to Rāma, O the delightful one, O the power of Rāma, O the one with eyes like lotuses, O queen, O Sītā, grant me the most beautiful devotion towards Rāma. ॥ 14.28 ॥
Two examples of use of alliteration mixed with Yamaka (6.3 and 16.84) occur in the sixth and sixteenth cantos - [10]
Devanagari
स ब्रह्मचारी निजधर्मचारी स्वकर्मचारी च न चाभिचारी ।
चारी सतां चेतसि नातिचारी स चापचारी स न चापचारी ॥
IAST
sa brahmacārī nijadharmacārī svakarmacārī ca na cābhicārī ।
cārī satāṃ cetasi nāticārī sa cāpacārī sa na cāpacārī ॥
He (Paraśurāma) observed celibacy, observed Dharma, observed his duties, and did not act wrongly [towards anyone]. He moved about (lived) in the hearts of the virtuous, and never transgressed. He roamed about with his bow, but never hurt [anyone]. ॥ 6.3 ॥
Devanagari
वीक्ष्य तां वीक्षणीयाम्बुजास्यश्रियं
स्वश्रियं श्रीश्रियं ब्रह्मविद्याश्रियम् ।
धीधियं ह्रीह्रियं भूभुवं भूभुवं
राघवः प्राह सल्लक्षणं लक्ष्मणम् ॥
IAST
vīkṣya tāṃ vīkṣaṇīyāmbujāsyaśriyaṃ
svaśriyaṃ śrīśriyaṃ brahmavidyāśriyam ।
dhīdhiyaṃ hrīhriyaṃ bhūbhuvaṃ bhūbhuvaṃ
rāghavaḥ prāha sallakṣaṇaṃ lakṣmaṇam ॥
On observing his Mahālakṣmī, the beauty of whose face was like that of a spectacular lotus, the brilliance of brilliance, the Lakṣmī (prosperity) of Lakṣmī (prosperity), the brilliance of the knowledge of Brahman, the intellect of intellect, the modesty of modesty, the earth (bearer) of the earth, and the daughter of the earth, Rāma said to Lakṣmaṇa, characterized by good qualities. ॥ 16.84 ॥
In the following verse (6.97), the poet describes how Sahasrārjuna is killed by Paraśurāma, using the metaphor (Rūpaka) of a priest performing a fire sacrifice (Yajña). [11]
Devanagari
धनुःस्रुगभिमेदुरे भृगुपकोपवैश्वानरे
रणाङ्गणसुचत्वरे सुभटराववेदस्वरे ।
शराहुतिमनोहरे नृपतिकाष्ठसञ्जागरे
सहस्रभुजमध्वरे पशुमिवाजुहोद्भार्गवः ॥
IAST
dhanuḥsrugabhimedure bhṛgupakopavaiśvānare
raṇāṅgaṇasucatvare subhaṭarāvavedasvare ।
śarāhutimanohare nṛpatikāṣṭhasañjāgare
sahasrabhujamadhvare paśumivājuhodbhārgavaḥ ॥
In the great fire-sacrifice of the battle – in which the bow was the beautiful ladle, Paraśurāma's anger was the fire, the battlefield was the quadrangular fire-place (Vedikā or altar), the cries of the brave soldiers were the Vedic chants, the arrows of Paraśurāma were the fascinating oblations (Āhutis), and the kings were the wood – Paraśurāma sacrificed Sahasrārjuna like a sacrifice animal. ॥ 6.97 ॥
Yamaka is a kind of pun in Sanskrit and Prakrit where the same word occurs more than once and each occurrence of the word has a unique meaning. The following verse (3.26) from the third canto of the epic has the same four feet, but the same syllables stand for four different meanings, one meaning in each foot. [12] Such use of quadruple Yamaka spanning the entire verse is also called Mahāyamaka.
Devanagari
ललाममाधुर्यसुधाभिरामकं ललाममाधुर्यसुधाभिरामकम् ।
ललाममाधुर्यसुधाभिरामकं ललाममाधुर्यसुधाभिरामकम् ॥IAST
lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam ।
lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam ॥
Him, who was with the charm of the Tripuṇḍra and whose favourite deity was Rāma; him, who was bearing the axle of the lustre of the ornament [in the form of the nascent moon] and who was agreeable by this joy; him, who was the protector of the bearer of the onus of Dharma with the power of his eminence; and him, who was endowed with the refuge of Rāma owing to the pleasantness of the resplendence of the bull-sign which stands for righteousness. ॥ 3.26 ॥
In the Mudrā figure of speech, the metre used to compose the verse is indicated by the use of its name in the verse. This figure of speech is used eight times in the epic, with seven different metres as shown below.
Verse | Metre | Quarter | Devanagari | IAST | Meaning of Mudrā word |
---|---|---|---|---|---|
8.100 | Śikhariṇī | 4 | निजारामो रामो विलसति महेन्द्रे शिखरिणि॥ | nijārāmo rāmo vilasati mahendre śikhariṇi॥ | on the mountain |
11.83 | Śikhariṇī | 4 | जगौ द्यष्टौ भक्त्या रघुतिलककीर्तीः शिखरिणीः॥ | jagau dyaṣṭau bhaktyā raghutilakakīrtīḥ śikhariṇīḥ॥ | Śikhariṇī verses |
12.45 | Āryā | 1 | आर्ये रघुवरभार्ये | ārye raghuvarabhārye | O Noble woman! |
16.76 | Sragviṇī | 2 | भव्यनीलाम्बरा स्त्रीवरा स्रग्विणी। | bhavyanīlāmbarā strīvarā sragviṇī। | bearing a garland |
17.97 | Śārdūlavikrīḍitam | 4 | त्रैलोक्ये च विजृम्भितं हरियशःशार्दूलविक्रीडितम्॥ | trailokye ca vijṛmbhitaṃ hariyaśaḥśārdūlavikrīḍitam॥ | act like that of a lion |
17.100 | Pṛthvī | 4 | नमोऽस्त्विति समभ्यधाद्रघुवराय पृथ्वीपतिः॥ | namo'stviti samabhyadhādraghuvarāya pṛthvīpatiḥ॥ | earth |
19.85 | Puṣpitāgrā | 4 | त्रिजगति राम रमस्व पुष्पिताग्राम्॥ | trijagati rāma ramasva puṣpitāgrām॥ | flowered |
20.91 | Kanakamañjarī | 1 | कनकमञ्जरीकान्तिवल्लरी- | kanakamañjarīkāntivallarī- | golden creeper |
The poet uses as many as 40 Sanskrit and Prakrit metres, namely Acaladhṛti (Gītyāryā), Anuṣṭubh, Āryā, Indirā (Kanakamañjarī), Indravajrā, Indravaṃśā, Upajāti, Upendravajrā, Upodgatā (Mālabhāriṇī or Vasantamālikā, a type of Aupacchandasika), Kavitta, Kirīṭa (Meduradanta, a type of Sapādikā), Kokilaka (Nārkuṭika), Gītaka, Ghanākṣarī, Toṭaka, Duramilā (Dvimilā, a type of Sapādikā), Dodhaka, Drutavilambita, Nagasvarūpaṇī (Pañcacāmara), Puṣpitāgrā (a type of Aupacchandasika), Prthivī, Praharṣiṇī, Bhjaṅgaprayāta, Mattagajendra (a type of Sapādikā), Mandākrāntā, Mālinī, Rathoddhatā, Vaṃśastha, Vasantatilakā, Śārdūlavikrīḍita, Śālinī, Śikhariṇī, Śaṭpada, Sundarī (Vaitālika or Vaitālīya), Surabhi (a type of Aupacchandasika), Sragdharā, Sragviṇi, Svāgatā, Harigītaka, and Hariṇī.
There are seven verses in the seventh canto (7.11 to 7.17) of Śrībhārgavarāghavīyam composed in the Acaladhṛti (Gītyāryā) metre, which consists of only the short syllables in Sanskrit. The poet remarks that Paraśurāma extols the forest of Citrakūṭa in short syllables only, due to the feeling of humility. [13] Two examples are –
Devanagari
त्रिजगदवन हतहरिजननिधुवन
निजवनरुचिजितशतशतविधुवन ।
तरुवरविभवविनतसुरवरवन
जयति विरतिघन इव रघुवरवन ॥
मदनमथन सुखसदन विधुवदन-
गदितविमलवरविरुद कलिकदन ।
शमदमनियममहित मुनिजनधन
लससि विबुधमणिरिव हरिपरिजन ॥
IAST
trijagadavana hataharijananidhuvana
nijavanarucijitaśataśatavidhuvana ।
taruvaravibhavavinatasuravaravana
jayati viratighana iva raghuvaravana ॥
madanamathana sukhasadana vidhuvadana-
gaditavimalavaraviruda kalikadana ।
śamadamaniyamamahita munijanadhana
lasasi vibudhamaṇiriva hariparijana ॥
O the protector of the three worlds; O the remover of the mortal pleasures of the devotees of the Hari; O the one, the resplendence of whose waters win over the brilliance of hundreds of moons; O the one who makes the Nandanavana (forest of the deities) bow down with the majesty of its great trees; O the forest of best among the descendants of Rāghu, you shine forth like the dense treasure of abstention. ॥ 7.11 ॥
O the abode of pleasure for the tormentor of lust (Śiva); O the one whose immaculate and great panegyric has been sung by the one having the face of the moon (Rāma); O the destroyer of the [vices of] Kaliyuga; O the one who is celebrated by the [virtues like] tranquility, self-restraint and piety; O the wealth of the sages; O the attendant of Rāma; you are resplendent like the Cintāmaṇi gem. ॥ 7.12 ॥
The 20th canto has 72 Sanskrit verses (20.1–20.72) composed in Prakrit metres, namely Kirīṭa (Meduradanta, a type of Sapādikā), Ghanākṣarī, Duramilā (Dvimilā, a type of Sapādikā), Mattagajendra (a type of Sapādikā), Śaṭpada and Harigītaka. The language of the verses in Sanskrit, but the metres and the prosody rules follow Prakrit prosody. An example is the following verse (20.13) in the Ghanākṣarī metre, which consists of 32 syllables in every foot.
Devanagari
अशरणशरण प्रणतभयदरण
धरणिभरहरण धरणितनयावरण
जनसुखकरण तरणिकुलभरण
कमलमृदुचरण द्विजाङ्गनासमुद्धरण ।
त्रिभुवनभरण दनुजकुलमरण
निशितशरशरण दलितदशमुखरण
भृगुभवचातकनवीनजलधर राम
विहर मनसि सह सीतया जनाभरण ॥
IAST
aśaraṇaśaraṇa praṇatabhayadaraṇa
dharaṇibharaharaṇa dharaṇitanayāvaraṇa
janasukhakaraṇa taraṇikulabharaṇa
kamalamṛducaraṇa dvijāṅganāsamuddharaṇa ।
tribhuvanabharaṇa danujakulamaraṇa
niśitaśaraśaraṇa dalitadaśamukharaṇa
bhṛgubhavacātakanavīnajaladhara rāma
vihara manasi saha sītayā janābharaṇa ॥
O the refuge of those without refuge, O the destroyer of the fear of those who bow down [to you], O the remover of the earth's burden, O the paramour of the daughter of the earth, O the cause of pleasure in devotees, O the nourisher of the dynasty of the sun, O the one with feet as delicate as the lotus, O the redeemer of the wife of the Brahmin (Ahalyā), O the nourisher of the three worlds, O the slayer of the clan of demons, O the bearer of sharp arrows, O the destroyer of Rāvaṇa in battle, O the new cloud for the Cātaka bird in the form of the descendant of Bhṛgu (Paraśurāma), O Rāma, O the ornament of devotees, take pleasure in my mind with Sītā. ॥ 20.13 ॥
The principal Rasa (emotion or mood) of Śrībhārgavarāghavīyam is the Vīra Rasa (the emotion of heroism). Like the previously composed Mahākāvyas, Śrībhārgavarāghavīyam has all the eight Rasas as enunciated by Bharata Muni. These Rasas are – Śringāra (eros and beauty), Vīra (heroism or bravery), Hāsya (mirth), Raudra (fury), Karuṇa (compassion), Bībhatsa (disgust), Bhayānaka (horror), Adbhuta (amazement). Apart from this Śrībhārgavarāghavīyam also has the ninth Rasa as propounded by Mammaṭa – the Śānta Rasa (calmness), and the three new Rasas as – Bhakti (devotion), Vatsala (parental love) and Preyas (love).
Like the 10th canto of Śrīmad Bhāgavatam and Bālakāṇḍa of the Rāmacaritamānasa, twelve verses in the seventeenth canto (17.42–17.53) of Śrībhārgavarāghavīyam have all the twelve Rasas used in the same context. [14] Here the poet describes how twelve different groups of people in the assembly at Mithilā look at Rāma, each group feeling one of the above twelve emotions. The context is the same as in Rāmacaritamānasa.
Śrībhārgavarāghavīyam has three verses composed using only a single consonant (Ekākṣariślokas). The three Ekākṣariślokas are in the 20th canto of Śrībhārgavarāghavīyam (20.92–20.94). [15]
Devanagari
कः कौ के केककेकाकः काककाकाककः ककः ।
काकः काकः ककः काकः कुकाकः काककः कुकः ॥
काककाक ककाकाक कुकाकाक ककाक क ।
कुककाकाक काकाक कौकाकाक कुकाकक ॥
लोलालालीललालोल लीलालालाललालल ।
लेलेलेल ललालील लाल लोलील लालल ॥
IAST
kaḥ kau ke kekakekākaḥ kākakākākakaḥ kakaḥ ।
kākaḥ kākaḥ kakaḥ kākaḥ kukākaḥ kākakaḥ kukaḥ ॥
kākakāka kakākāka kukākāka kakāka ka ।
kukakākāka kākāka kaukākāka kukākaka ॥
lolālālīlalālola līlālālālalālala ।
lelelela lalālīla lāla lolīla lālala ॥
The Supreme God (kaḥ) (Rāma) [is resplendent] on [both] the earth (kau) and in Sāketaloka (ke); from him there is pleasure in the universe and in the sound of the peacock (kekakekākaḥ); he takes pleasure and bliss in the caw of the [Kākabhuśuṇḍi] crow (kākakākākakaḥ); from him there is pleasure for all the worlds (kakaḥ); for him the pain [of exile] is a pleasure (kākaḥ); his crow ([Kākabhuśuṇḍi]) is praiseworthy (kākaḥ); from him there is pleasure for Brahmā (kakaḥ); he calls out [to the devotees] (kākaḥ); from him there is pleasure for Kukā or Sītā (kukākaḥ); he calls out to the [Kākabhuśuṇḍi] crow (kākakaḥ); and from him there are worldly fruits and the bliss of liberation (kukaḥ). ॥ 20.92 ॥
O the one who from whom there was pain on the head of the [Jayanta] crow (kākakāka); O the one from whom there is pleasure in [all] beings (kaka); please come, please come (āka āka); O the one from whom there is pleasure for Sītā (kukāka); please come (āka); O the one from whom there is pleasure for the universe (kaka); please come (āka); O Lord (ka); O one who invites to himself those who find pleasure in the [mortal] world (kukaka); please come, please come (āka āka); O the one from whom there is pleasure for both Brahmā and Viṣṇu (kāka); please come (āka); O the one from whom there is pleasure on the earth (kauka); please come, please come (āka āka); O the one who is called out to [for protection] by the evil crow [Jayanta] (kukākaka), [please come]. ॥ 20.93 ॥
O the one who is playful with a row of locks of wavering hair (lolālālīlala); O the one who never changes (alola); O the one whose mouth is full of saliva in the pastimes [as a child] (līlālālālalālala); O the one who accepts the wealth of earth (Sītā) in the sport [of breaking the bow of Śiva] (lelelela); O the one who destroys the multitude of worldly desires of mortals (lalālīla); O the child [form of Rāma] (lāla); O the one who destroys the fickle-minded nature of the being (lolīla); [may you ever] delight [in my mind] (lālala). ॥ 20.94 ॥
Some features of the epic compared with previous Mahākāvyas are given below
Epic | Composer | Dated | Number of cantos | Number of verses | Number of metres used | Word at each canto-end |
---|---|---|---|---|---|---|
Kumārasambhavam | Kālidāsa | 5th c. CE | 8 | 613 | 8 | — |
Bhaṭṭikāvyam | Bhaṭṭi | 7th c. CE | 21 | 1602 | — | — |
Raghuvaṃśam | Kālidāsa | 5th c. CE | 19 | 1572 | 21 | — |
Kirātārjunīyam | Bhāravi | 6th c. CE | 18 | 1040 | 12 | Lakṣmī |
Śiśupālavadham | Māgha | 7th/8th c. CE | 20 | 1645 | 16 | Śrī |
Naiṣadhīyacaritam | Śrīharṣa | 12th c. CE | 22 | 2828 | 19 | Nisargojjvala |
Śrībhārgavarāghavīyam | Rāmabhadrācārya | 21st c. CE | 21 | 2121 | 40 | Śrī |
Abhiraj Rajendra Mishra, former Vice-Chancellor of Sampurnanand Sanskrit University and winner of Sahitya Akademi Award in Sanskrit, writes in the introduction of the epic that in an age where the prevalence of Sanskrit is rare, several works in recent past have been published as epics which are devoid of the traditional features of a Sanskrit Mahākāvya, and have errors in grammar at many places. He thinks of Śrībhārgavarāghavīyam as an exception. He further says that this is an epic which nourishes the tradition of Ṛṣis, and with this composition the contemporary Sanskrit literature has been blessed. [16]
Yogeshchandra Dubey, professor and head of department of Sanskrit at the Jagadguru Rambhadracharya Handicapped University, [17] writes in the Publisher's Note at the beginning of the book that he views Śrībhārgavarāghavīyam as having even more special qualities and features than the epic works of Māgha, Bhāravi, Śrīharṣa and Kālidāsa. [18] At the end of the Publisher's Note, he presents a metaphor- [19]
In the Prayāga in the form of this epic, there is the Triveṇī Saṅgama of the Gaṅgā in the form of Laghutrayī and the Yamunā in the form of Bṛhattrayī, with the Sarasvatī in the form of the speech of Rāmbhadrācārya.
Dr. Vagish Dinkar, professor and head of department of Sanskrit at the R.S.S. PG College ( Ghaziabad), [20] and the author of the critique on the epic titled Śrībhārgavarāghavīyam Mīmāṃsā, writes at the conclusion of his critique that Śrībhārgavarāghavīyam is worthy of being considered with the Bṛhattrayī as the Catuṣṭayī (the quartet). [21]
The epic Śrībhārgavarāghavīyam showcases the invigoration of the essence of the Vedas, and by composing it, Rāmbhadrācārya will achieve eternal fame like Kālidāsa and Tulasīdāsa. ... This best amongst the best epic is capable of endowing the previously composed Trayī works by the nomenclature of Catuṣṭayī.
Elsewhere, in award citations and in the media, the work has been described as time-conquering and outstanding. [1] [22]
The poet has been given several rewards for the composition of the epic since 2002. Some of them include –