4.7.4. Benevolence
Sāyaṇācārya never turned away people who sought refuge in him. If a band of poets walked barefoot on gravel to seek his patronage, he would ensure they went back on the backs of elephants. A witty verse observes: ‘One glance of Sāyaṇācārya’s is enough to rid a man of all his miseries. But something seems to be amiss with this one man. No matter how many times he presents himself before the minister, he remains destitute and desolate. Maybe he never wishes to move away from Sāyaṇācārya’s sight!’ The minister was benevolence personified – he never donated small sums, never gave with a sour face, and was never partial. In protecting the oppressed, he was without equal – even epic characters such as Jīmūta-vāhana and Śibi pale in comparison. In might and munificence he resembled the legendary hero Paraśu-rāma.
द्रष्टुं ये त्वामागताः सायणार्य
क्षुद्रग्रावक्षुण्णपादाः कवीन्द्राः।
ते खल्वेते गन्धमातङ्गतुङ्ग-
स्कन्धारूढाः संश्रयन्ते स्वदेशान्॥
सकृदवलोकनेन सचिवेश्वर सायण ते
द्रवति दरिद्रता द्रुतमथापि न मां त्यजति।
किमिदममोघदर्शन सुदर्शनवन्मम वा
प्रतिकलदर्शनप्रणयिनः फलितं सुकृतैः॥
दीनानामभयार्थिनां च शरणं श्रीसायणार्यादृते
को वा दुर्मदकूलमुद्रुजकृपापूरैकपूर्णाशयः।
तस्मै तार्क्ष्यनिगीर्णपन्नगपरित्राता च सिद्धेश्वरः
श्येनत्रस्तकपोतजीवितपरित्राता च नालं शिबिः॥
पाथोराशिजलेन पल्वलजलं स्पर्धेत चेद्युज्यते
युष्माकं च वदान्यमान्यसचिवम्मन्या स्पृहा सायणे।
सोऽयं यूयमिति प्रदानसमये नैषोऽप्रसन्नाननो
न स्तोकं प्रददाति नापि समयापेक्षं न सारोज्झितम्॥
युद्धेष्वायुधसादरीन् वितरणे क्षोणीतलं विप्रसा-
द्रामेण द्विजपुङ्गवेन रचितं श्रीसायणार्येण च।
शौर्यं तत्र समं द्वयोस्त्रिभुवनप्रख्यातचारित्रयो-
रौदार्यं पुनरेकनैकविषयं वैषम्यमालम्बते॥
4.7.5. Appearance
Sāyaṇācārya was quite the rara avis. The strapping man had an impressive mien. One of the verses here describes him as the embodiment of all pleasing phenomena – spring, moon and Manmatha, the lord of love. People who looked at him thought their power of vision was finally gratified; the radiant minister had such fine features. He used to love his wife deeply and please her with gifts. When she was miffed, he used to pacify her in this manner: Why don’t you wear the beautiful gem-studded necklace that the king gifted when we won a war? Why are you wearing soiled clothes? Here, put on this silken garment. Divine damsels such as Rambhā and Tilottamā would fight over him but find to their dismay that he is interested only in his wife.
किं वा वसन्तसमयः
किं वा सोमः किमङ्गवान्मदनः।
सायणनामा सचिवः
सत्यं सखि नैव केवलो मनुजः॥
आविस्मिताननसरोरुहमायताक्ष-
माजानुलम्बिभुजमप्रतिमानरूपम्।
आलोक्य सायण भवन्तममन्दकान्ति-
मक्ष्णोरुपैति फलमायतयोर्ममाली॥
समरविजयवृद्धौ सङ्गमेन्द्रेण दत्तां
कलय मणिविभूषां कातरे कण्ठपाशे।
किमिव मलिनवासाः क्षौममेतद्गृहाणे-
त्यनुनयति सरोषां प्रेयसीं सायणार्यः॥
रम्भे किं न्विदमद्भुतं नववधूवेषग्रहारम्भणं
दृष्टं किं नु तिलोत्तमे न गणयत्यस्मान् सदा सायणः।
एनं वञ्चयितुं रणाङ्गणगतं वेषोऽयमङ्गीकृतः
साध्वेतत्समनुष्ठितं सखि तदप्येष स्वदारैकधीः॥
4.7.6. Valour
Sāyaṇācārya was no armchair strategist; he was a fearless warrior who sent shivers down the spines of his adversaries. When he went out to war with blaring kettle-drums, wild lions would run amok and tear the temples of his enemies’ elephants. These elephants would not exist in the first place, a verse here fancies – they would be found only in paintings, which suggests Sāyaṇācārya had quelled all his enemies. Enraged on the battlefield he would appear as the terrifying Nṛsiṃha who ripped asunder the belly of Hiraṇyakaśipu, or as Śiva who reduced his enemy to ashes by merely looking at him. Sāyaṇācārya would never stop until he had lopped off the head of the last-standing foe. A sea of elephants, horses and soldiers marching as part of his extensive army collectively raised a din that pierced the eight directions; the dust they raised covered the entire sky. When enemy-kings had to face him, the commander-in-chief of Saṅgama II, they felt hopelessly useless and cursed their brawny arms smeared with fragrant unguents. Sāyaṇācārya had fought and won many wars in this way; a verse here records his victory over the Coḻa king Campa Śāmbhuvarāya, as we have seen in section 2.2.
आकर्ण्य यात्रापटहप्रणादा-
नपोढनिद्रैस्तव सायणार्य।
अरण्यसिंहैररिभूपतीना-
माहन्यते चित्रगतोऽपि हस्ती॥
अमुं शमितशात्रवस्थिरभुजावलेपोदयं
विलोक्य नियतं भवेदधिरणं महाविस्मयः।
नखाग्रहतवैरिणो नरहरेर्हरस्याथवा
नवाम्बुजदलोल्लसन्नयनमात्रदग्धद्विषः॥
खड्गच्छिन्नविपक्षकर्णरुधिरस्रोतोनिपातोक्षितं
तादृग्वेगविवर्तनद्रुतपतन्मालाकरोटीशतम्।
सङ्ग्रामेषु समीक्ष्य सायणपतिं सान्द्रोपवीतस्रजं
संवर्तावधिताण्डवोद्यतहरस्मृत्या जगत्क्षुभ्यति॥
गर्जद्दुर्जयगन्धसिन्धुरघटासङ्घट्टनष्टाष्टदिग्-
रन्ध्रः सान्द्रतुरङ्गहेषितरवैर्ग्रस्तान्यघोषोदयः।
धाटीमोटनलम्पटोद्भटभटव्याधूतधूलीभर-
च्छन्नव्योमपथो विनिर्जिगमिषत्युर्वीजये सायणः॥
सङ्ग्रामेषु समीक्ष्य सङ्गमपतेः सेनापतिं सायणं
त्यक्त्वा मां द्रुतविद्रुतैस्तत इतः किं क्षत्त्रियैश्च क्षतैः।
किं वानेन भुजेन मे प्रविलसन्मौर्वीकिणश्यामिका-
कस्तूरीरसपङ्कसङ्गसततप्रेष्ठप्रकोष्ठश्रिया॥
दिष्ट्या दैष्टिकभावसम्भृतमहासम्पद्विशेषोदयं
जित्वा चम्पनरेन्द्रमूर्जितयशाः प्रत्यागतः सायणः।
रथ्यास्थापितरत्नतोरणरणत्सौवर्णघण्टामिलत्-
स्वर्गङ्गाजलपुष्पलाजनिवहैः पुण्याहघोषैरपि॥
4.7.7. Multifaceted Personality
Sāyaṇācārya’s personality cannot be straitjacketed into a set of a few traits. He was a multifaceted genius combining within himself the skills of a scholar, connoisseur, author, editor, preceptor, warrior and minister. These apart, he was an ideal householder and philanthropist, a builder of institutions and consolidator of traditions. He was without equal in tyāga, bhoga, ācāra, vicāra, vinaya and naya – a veritable sea into which seemingly opposite qualities flowed to find harmony. Put succinctly, he was a Renaissance man.
त्यागे भोगे तथाचारे विचारे विनये नये ।
सायणार्य इव ख्यातः सायणार्यः समेधते॥
तव रूपमिवाचार आचार इव ते यशः।
मेरुणा सदृशं रूपं सत्यं सायणमन्त्रिणः॥
अमुष्य श्लाघन्ते भुवि जननवन्तो वितरणं
रणं स्वर्गे लोके रिपुनृपतयः खड्गनिहताः।
कलायां यो यस्यामधिकपटुरेष प्रतिकलं
कलैषा ह्यस्यैवेत्यहह बहुमानं वितनुते॥
साहित्यार्णवपारसञ्चरतया ख्याता परा शेमुषी
निःशेषक्षपितद्विषन्नयपथा नीतिर्निजा शाश्वती।
सम्पत्तिर्वरवाजिवारणवती सर्वोपकारक्षमा
साम्राज्यं तव सायणार्य सततं शंसन्ति साम्यासहम्॥
शास्त्राणां समयैषिता नियमयत्येकत्र सत्योद्यमं
शस्त्राणामथ साहसव्यसनिता प्रोद्दीपयत्यन्यतः।
विद्यासंसृतिसक्तिविभ्रमजुषोः स्पर्धानुबन्धात्तयोः
सिद्ध्यै सायणमन्त्रिणः प्रभवति श्लाघ्यं द्वयोर्मेलनम्॥
4.7.8. Family Life
The most endearing set of verses in this text is perhaps the one that presents vignettes of Sāyaṇācārya’s family life. The three brothers, Mādhavācārya, Sāyaṇācārya and Bhoganātha, were unequalled in conduct and competence. Their home was a hub of activities – here hosting debates on intricate issues of Vyākaraṇa, Nyāya and Mīmāṃsā, here presenting freshly-brewed poetry laden with rasa, here vibrant with the euphonious notes of the vīṇā, and here abuzz with the endearing prattle of children learning their lessons. Sāyaṇācārya’s sons were accomplished in their own right: Kampaṇa had a penchant for music, Māyaṇa was skilled in the art of composing prose and verse, Śiṅgaṇa was adept at the Vedas and could recite it in the formats of krama and jaṭā. A dominant shade in Sāyaṇācārya’s multihued personality was reverence. Every day, he would prostrate before the deities and his parents, and would affectionately offer a handful of yavasa to Kapilā, the cow. In the whole range of Sanskrit literature we do not find many verses such as these that present an intimate picture of cultured family life.
माधवार्यो माधवार्यः सायणः सायणः परम्।
भोगनाथो भोगनाथः प्रथते भुवनत्रये॥
क्वचिद्व्याख्यातॄणां विविधपदवाक्यादिपदवी-
विमर्शः काव्यानां क्वचन सरसानां विरचितम्।
क्वचिद्वीणावादव्यसनि शिशुशिक्षाविलसितं
कथं वाचां भूमौ भवति भवनं सायणविभोः॥
वत्स व्यञ्जय कम्पण व्यसनिनः सङ्गीतशास्त्रे तव
प्रौढिं मायण गद्यपद्यरचनापाण्डित्यमुन्मुद्रय।
शिक्षां दर्शय शिङ्गण क्रमजटाचर्चासु वेदेष्विति
स्वान् पुत्रानुपलालयन् गृहगतः सम्मोदते सायणः॥
मातर्मानय पादपद्मरजसा मौली ममाश्लिष्यतां
तात त्वं च समेधयालिकगतां प्रीतिं नखज्योत्स्नया।
अम्ब त्वं कपिले गृहाण यवसग्रासान्ममार्घ्यानुगा-
नित्याराधयतीश्वरं गुरुजनं गां चान्वहं सायणः॥
4.7.9. Training the Crowned Prince
We have seen how Sāyaṇācārya took the young prince, Saṅgama II under his wing and managed the kingdom till he came of age. Two verses in this treatise give us an authentic picture of the instruction Saṅgama II received from his mentor. The prince internalized the precepts of Ānvīkṣikī (Nyāya), Dharma-śāstra and Vedānta and observed them in practice, much to the delight of his preceptor. The subjects listed here, we can be sure, formed the prince’s mind apart from informing it, and guided his pursuit of further studies. One of the verses considers Sāyaṇācārya an avatāra of Bhagavān Veda-vyāsa, the fount of all streams of traditional knowledge in India. This gives us a clear idea of his preeminent stature.
आन्वीक्षिक्यामधिकविहृतौ हर्षशोकव्युदासे
मार्गोल्लेखं विदधति नृणां मानवे धर्मशास्त्रे।
सम्यक्छिक्षां सचिवगमितः शैशवे सायणार्य
प्रौढिं गाढां प्रकटयति ते सङ्गमेन्द्रः प्रयोगे॥
लोकोद्वेगकरद्विषद्विहतये प्राबोधयस्त्वं प्रभो
पार्थं प्रागधुनाप्यपार्थसुमनःकार्पण्यविच्छित्तये।
बाल्येऽपि प्रतिबोधयस्यवहितं श्रीसङ्गमक्ष्मापतिं
बोधैकास्पद सायणार्य भगवद्द्व्यासावतारस्तथा॥
4.7.10. Saṅgama II
Alaṅkāra-sudhānidhi records that Kampaṇa I, Saṅgama II’s father, passed away when the latter was a mere child who could not wield a weapon, let alone manage the affairs of a kingdom. Needless to say, this fact is seminal to understand the history of the Vijayanagara Empire. Brought up under the careful eyes of Sāyaṇācārya, Saṅgama II blossomed into a king imbued with enviable virtues. He vanquished enemies, honoured the wise, helped the needy, enjoyed the pleasures of life and administered the kingdom well. A verse here compares him to Bhagavān Nārāyaṇa who reposes in a milky ocean of fame, where corals glisten with the hue of the rising and setting sun, mountains appear as clouds and the sky as moss, pearls glimmer like stars, the moon assumes the form of a conch, and the sun shines brightly as the kaustubha gem.
सङ्गमेन्द्र नरेन्द्र त्वय्यकृतास्त्रपरिग्रहे।
निधायोर्वीधुरमगात्स्वाराज्यं कम्पणः कथम्॥
श्रीमत्सङ्गम भूमिपाल महतस्त्वत्कीर्तिदुग्धोदधेः
सन्ध्या विद्रुमवल्लरी जलधराः शैला नभः शैवलम्।
तारा मौक्तिकपङ्क्तयः शशधरः शङ्खः पतङ्गो मणि-
र्मध्ये तस्य कृतस्थितिः स भगवान्नारायणस्त्वं विभो॥
दुर्दान्तेषु रुषा कषायकलुषोन्मेषा सतामानने-
ष्वव्याजोन्मिषितप्रसादसुभगा नित्यं दयाशालिनी।
सैषा वामविलोचनामुखसमालोकेषु हेवाकिनी
दृष्टिः संसदि सङ्गमक्षितिपतेर्नानारसा दृश्यते॥
4.8. Overall Appraisal
Alaṅkāra-sudhānidhi is a handy compendium of the major concepts of Poetics. It walks on the path inaugurated by Dhvanyāloka and adopted by Kāvya-prakāśa to consolidate the tenets of literary aesthetics. It is remarkable for the insights it provides into the life of its author, Sāyaṇācārya; the social, cultural and political milieu of the Vijayanagara Empire during the reign of Bukkarāya; and the literary activities of Bhoganātha, whose compositions are preserved only in this treatise. Further, Alaṅkāra-sudhānidhi is among the handful of independent works on Poetics that had emerged from South India till the fourteenth century ce. It comes third chronologically in the ‘praśati’ or ‘yaśobhūṣaṇa’ type of works. And in this genre, the treatise stands unique – it eulogizes the author himself, while all other works base their illustrative verses on their patrons.
Sāyaṇācārya’s learning in Poetics, as in other disciplines, was prodigious. In this treatise he has referred to the observations of several aestheticians such as Bharata, Bhāmaha, Udbhaṭa, Vāmana, Rudraṭa, Lollaṭa, Śaṅkuka, Bhaṭṭa-nāyaka, Ānanda-vardhana, Abhinava-gupta, Kuntaka, Mahima-bhaṭṭa, Bhoja, Mammaṭa, Maṅkha, Hemacandra, Ruyyaka, Vidyādhara and Bhaṭṭa-gopāla. We are amazed to learn that Sāyaṇācārya, immersed as he was in multiple activities, was au courant in Poetics. This is borne out by his references to such texts as Ekāvalī and Sāhitya-cūḍāmaṇi. In Vyākaraṇa and Mīmāṃsā, he has quoted authoritative sources such as Vākyapadīya and Tantra-vārttika.
References to Alaṅkāra-sudhānidhi are found in:
- Ratnāpaṇa, Kumāra-svāmī’s commentary on Pratāpa-rudrīya (Andhra)
- Citra-mīmāṃsā and Vṛtti-vārttika by Appayya-dīkṣita (Tamil Nadu)
- Sāhitya-kallolinī by Bhāskarācārya (Tamil Nadu)
- Kāvya-kalānidhi by Kṛṣṇa-sudhī (Kerala)
- A commentary on Abhijñāna-śākuntala by Śrīnivāsācārya (Karnataka ?)
- A commentary on Lakṣmī-sahasra by Śrīkṛṣṇa-brahmatantra-yatīndra (Mysuru)
- Rasika-jana-manollāsinī-sāra-saṅgraha-bharata-śāstra by Veṅkaṭa-sundarāsāni (Mysuru).
From the foregoing it is evident that Alaṅkāra-sudhānidhi was popular throughout South India.
Sāyaṇācārya uses the śarīra-ātmā analogy in enumerating the topics he had set out to describe:
दोषा गुणा अलङ्काराः सर्वेऽपि रसगोचराः।
काव्यस्यात्मा रसो यस्मादात्मधर्माश्च ते यतः॥ 1.108
शब्दार्थौ देहवद्दोषाः श्वित्रादिवदथो गुणाः।
शौर्यादिवदलङ्काराः काञ्चीहाराङ्गदादिवत्॥ 1.118
रसादिध्वनिरात्मैवेत्यनया किं व्यवस्थया। 1.119
In this list, only the portion on alaṅkāras is incomplete. The author has treated doṣa in a summary fashion and has not belaboured like Mahima-bhaṭṭa and Mammaṭa. Going by these facts we posit that Alaṅkāra-sudhānidhi consists of only three chapters, of which the final one is incomplete.
5. Acknowledgements
We owe an immense debt of gratitude to:
The Oriental Research Institute, Mysuru – for entrusting this work to us. The director, Dr. P Madhusudanacharya was extremely helpful and encouraging throughout the process. The members of staff helped us in ways much beyond their call of duty.
Indian Knowledge Systems Division, Ministry of Education, Government of India – for providing financial support to this project. Prof. Ganti S Murthy, the ever-cheerful national coordinator, showed keen interest in this work and ensured there were no hassles.
Adyar Library and Research Centre, Chennai – for sending us scanned copies of the Telugu and Devanāgarī manuscripts of Alaṅkāra-sudhānidhi from Dr. V Raghavan’s personal collection. We thank the director, Dr. Radha Raghunathan for her support.
Sri Srinidhi Ramachandra, our young friend – for leading us to Dr. V Raghavan’s manuscript collection, without which we could not have prepared this critical edition.
Dr. H V Nagaraja Rao, the eminent scholar – for perusing parts of the first chapter in our text and instilling in us the confidence to complete the project.
Dr. Mahesh Bhat R Haryadi, an aṣṭāvadhānī and a fine scholar of Poetics – for reading through our entire text with care and patience, comparing readings from various manuscripts, suggesting capital emendations, spotting typographic errors, and bringing to our notice the commentary on Lakṣmī-sahasra.
Dr. Shankar Rajaraman, our dear friend and a gifted Sanskrit poet – for supplying perfect emendations to several tricky verses.
Prof. Mallepuram G Venkatesh, former Vice-Chancellor of Karnataka Sanskrit University – for gifting the book, Rasika-jana-manollāsinī-sāra-saṅgraha-bharata-śāstra, which cites some verses from Alaṅkāra-sudhānidhi.
Sri S Karthik, a Kannada scholar and researcher – for identifying a work in our possession as Veṅkaṭa-sundarāsāni’s and sharing a complete digital copy of the same.
Sri Sandeep Balakrishna and Sri Arjun Bharadwaj, our dear friends – for polishing our prose and suggesting incisive edits in the English Introduction.
Dr. Ramakrishna Pejathaya, a wonderful exponent of Aṣṭāvadhāna and a fine scholar of Jyotiṣa – for his incisive edits in the Sanskrit Introduction.
Smt. Sumitra Veeraraghavan – for helping us decipher some portions of the Grantha manuscript.
Sri Hari Ravikumar, our dear friend – for offering valuable suggestions to improve the design of the work.
Dr. G S Raghavendra, our dear friend – for designing the citra-bandhas with an eye for aesthetic precision.
Sri Rajaneesh Kashyap, our dear friend – for designing and printing this book with great care.
Vidvān N S Venkatanathacharya and Vidvān K S Varadacharya, the great scholars – for their prodigious learning in Poetics evident in the transcription of Alaṅkāra-sudhānidhi.
Dr. D V Gundappa, the noted Kannada littérateur who has had a tremendous influence on us – for his pioneering research on Sāyaṇācārya and Bhoganātha.
Dr. B R Modak – for his instructive monograph on the life and works of Sāyaṇācārya.
Dr. D C Sarasvati – for her illuminating paper on Alaṅkāra-sudhānidhi, from which we benefited much in analysing the contents.
Dr. V Raghavan, the doyen of Indian aesthetics – for getting the manuscripts of Alaṅkāra-sudhānidhi transcribed, and providing the impetus for further scholarly work.
We humbly dedicate this work to Mahāmahopādhyāya Prāktana-vimarśa-vicakṣaṇa R Narasimhachar, who brought Alaṅkāra-sudhānidhi to light more than a hundred years ago, wrote an illuminating paper on ‘Mādhavācārya and his Younger Brothers,’ and thus laid the foundation for all further research.
* * *
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Concluded.
