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A History of Sanskrit Literature c12.s2: 2. Bhaṭṭi

A History of Sanskrit Literature c12.s2

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English

2. Bhaṭṭi

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Bhaṭṭi, the author of the *Rāvaṇavadha*,¹ more usually simply styled *Bhaṭṭikāvya*, tells us that he wrote in Valabhī under Çrīdharasena. But four kings of this name are known, the last of whom died in A. D. 641, so that we remain with nothing more secure than that as a *terminus ad quem*. The suggestion² that he is to be identified with Vatsabhaṭṭi of the Mandasor inscription lacks all plausibility, if only for the reason that Vatsabhaṭṭi commits errors in grammar. The name Bhaṭṭi is Prākritized from Bhartṛ, and it is not surprising that in tradition he has been either identified with Bhartṛhari or made a son or half-brother of that famed poet. There is, however, nothing but the name to support the suggestion. We know, however, that he was imitated by Māgha, and it is a perfectly legitimate suggestion that his work gave Māgha the impetus to show his skill in grammar to the extent that he does. More important still is the plain fact that he was known to Bhāmaha. In ending his poem he boasts that it needs a comment:

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¹ Ed. with Jayamaṅgala’s comm., Bombay, 1887; with Mallinātha, BSS. 1898; i–iv ed. and trans. V. G. Pradhan, Poona, 1897. Cf. Hultzsch, EI. i. 92; Keith, JRAS. 1909, p. 435.

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² B. C. Mazumdar, JRAS. 1904, pp. 395–7; 1909, p. 759.

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*vyākhyāgamyaṁ idaṁ kāvyaṁ utsavaḥ sudhiyām alam*
*hatā durmedhasaç cāsmin vidvatpriyatayā mayā.*

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‘This poem can be understood only by a comment; it suffices that it is a feast for the clever and that the stupid come to grief in it as a result of my love of learning.’ Bhāmaha rather clumsily repeats in almost identical terms this verse. The list of Alaṁkāras given by Bhaṭṭi is in a certain measure original, when compared with those of Daṇḍin and Bhāmaha; its source is still unknown.

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Bhaṭṭi’s poem, a lamp in the hands of those whose eye is grammar, but a mirror in the hands of the blind for others, is esssentially intended to serve the double plan of describing Rāma’s history and of illustrating the rules of grammar. In the latter aspect its twenty-two cantos fall into four sections; the first four cantos illustrate miscellaneous rules; v–ix the leading rules, x–xiii¹ are given to illustration of the ornaments of poetry, the names of the figures unfortunately being supplied merely in the commentary or the manuscripts, and the rest of the poem illustrates the use of the moods and tenses. The combination of pleasure and profit is by no means ill devised, and Indian opinion gives Bhaṭṭi without hesitation rank as a Mahākavi. It is dubious if any sound taste can justify this position; what is true is that, considering the appalling nature of the obstacle set and the rather hackneyed theme adopted, Bhaṭṭi contrives to produce some fairly interesting and, at its best, both lively and effective verse. His aim in some degree helps his style, as it prevents the adoption of long compounds or too recondite allusions or ideas.

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¹ x is on figures; xi on the quality of sweetness; xii on Bhāvika, vivid description; xiii gives verses which can be read as Sanskrit or Prākrit.

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His style may best be judged by a fragment of the scene where Rāvaṇa in his need turns to Kumbhakarṇa for aid, and airs his aorists:

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*nājñāsīs tvaṁ sukhī Rāmo yad akārṣīt sa rākṣasān*
*udatārīd udanvantaṁ puraṁ naḥ parito ’rudhat*
*vyajyotiṣṭa raṇe çastrair anaiṣīd rākṣasān kṣayam.*
*na prāvocam ahaṁ kiṁcit priyaṁ yāvad ajīviṣam*
*bandhus tvaṁ arcitaḥ snehān mā dviṣo na vadhīr mama.*
*vīryaṁ mā na dadarças tvaṁ mā na trāsthāḥ kṣatāṁ puram.*
*tavādrākṣma vayaṁ vīryaṁ tvam ajaiṣīḥ purā surān.*

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‘Hast thou not known in thy happiness what Rāma hath done to the Rākṣasas? He hath crossed the ocean, and completely hemmed in our city. He hath warred brilliantly and his weapons have brought death to the Rākṣasas. Never in all my life have I spoken one word of flattery; thou hast been honoured by me from love of kin; do not fail to slay my foes. Fail not to show thy might, fail not to guard our smitten town; thy might have we beheld, thou didst aforetime conquer the gods.’ The flow of the narrative is, it will be seen, simple and limpid, but it lacks fire and colour, and the task of illustrating the figures of speech proves extremely wearisome to all but the commentators, whose joy the poet was. Some, no doubt, of the passages are happy enough; in one we find a proverb known from the *Vikramorvaçī*:²

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² ii. 16 (ed. Pandit).

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*Rāmo ’pi dārāharaṇena tapto: vayaṁ hatair bandhubhir ātmatulyaiḥ*
*taptena taptasya yathāyaso naḥ: sandhiḥ pareṇāstu vimuñca Sītām.*

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‘Rāma is aflame through Sītā’s rape, we through the death of kinsfolk dear as ourselves; let us make compact with our foe as flaming iron with flaming iron; let Sītā go free.’ Another example¹ describes Rāvaṇa’s advent:

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¹ xi. 47; imitated by Māgha, i. 19.

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*jalada iva taḍitvān prājyaratnaprabhābhiḥ: pratikakubham udasyan nisvanaṁ dhīramandram*
*çikharam iva Sumeror āsanaṁ haimam uccair: vividhamaṇivicitram pronnataḥ so ’dhyatiṣṭhat.*

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‘Like a lightning cloud through the rays sparkling from his jewels, and emitting like it on all sides a deep dull resonance, the lofty prince sat him on a high golden throne, radiant with many a gem, as the cloud clings to a pinnacle of mount Sumeru.’ The use of *viçāla*, broad, in the next example illustrates the straits into which a poet may be driven, even if he is a grammarian:²

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² xii. 59; Māgha, i. 47 (below, § 4).

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*kva strīviṣahyāḥ karajāḥ kva vakṣo: daityasya çailendraçilāviçālam*
*sampaçyataitad dyuṣadāṁ sunītam: bibheda tais tan narasiṁhamūrtiḥ.*

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‘What can finger-nails meet for maidens’ breasts avail against the bosom of the demon, that is broad as a rock of the lord of mountains? Nay, consider this cunning scheme of the immortals; with these in his shape as man and lion (Viṣṇu) clove this bosom.’

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The chief metre used by Bhaṭṭi is the Çloka, which is used in Cantos iv–ix and xiv–xxii. Upajāti of the Indravajrā type prevails in i–ii, xi and xii. The Gīti form of Āryā prevails in xiii, and x is largely in Puṣpitāgrā; no other metre has any currency of importance. Only Praharṣiṇī. Mālinī, Aupacchandasika, Vaṁçasthā, and Vaitālīya occur six times or more; Açvalalita, Nandana, Pṛthvī, Rucirā, and Narkuṭaka occur only once each; others used are Tanumadhyā, Toṭaka, Drutavilambita, Pramitākṣarā, Praharaṇakalikā, Mandākrāntā, Çārdūlavikrīḍita, and Sragdharā. The absence of the longer metres in frequent use explains, of course, the comparative ease of the style, for the larger stanzas encourage development both of thought and expression.

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