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Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s12: Bṛhattrayī: As a Vāda Discourse

Vāda in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s12

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English

Bṛhattrayī: As a Vāda Discourse

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The three *mahākāvyas* of Bhāravi (around sixth century CE), Māgha (eighth century CE) and Śrīharṣa (twelfth century) are known as the Great Trinity (*Bṛhattrayī*) of Sanskrit epics. All the three are construed in inherent debate. *Vāda* is interwoven in their texture both at the surface structures and deep structures.

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*Kirātārjunīyam* by Bhāravi begins with heated discussions between Draupadī, Bhīma, Yudhiṣṭhira and Vyāsa. After hearing how Duryodhana is prospering, Draupadī is in a furious mood and she vehemently criticizes Yudhiṣṭhira's passive nature. A man void of the spirit of retribution does not earn the respect of his friends nor the fear from his foes” (*amarṣaśūnyena janasya jantunā na jātahardena na vidviṣādaraḥ* — *Kirātārjunīyam* I.33), this is the view presented by her. The discussion turns on the issue of polity as Bhīma supports her. “Valour does not abide with despondency” (*nivasanti parākramāśraya na viṣādena samaṁ samṛddhayaḥ* — ibid. II.19), says Bhīma. He calls for self-respect and glory and to maintain the spirit of valience. The passionate utterance of Draupadī and Bhīma urging upon Yudhiṣṭhira to have his revenge and to immediately speed up an attack on Duryodhana form the *pūrva-pakṣa*. With all his wisdom and acquisition of polity, Yudhiṣṭhira gives a subdued and dispassionate reply to them. He patiently argues for circumspection (*vimṛśyakāritā*) and avoiding precipitation (*sahasā vidadhīta na kriyāṁ*, etc. — II.30). His views are substantiated by Vyāsa who joins them subsequently. The *siddhānta-pakṣa* is completed with Vyāsa's message. Āgama like a lamp shows the way (II.30) because when the mind follows the path the noble have trodden (*spṛhaṇīhaguṇair mahātmabhiś carite varmani yacchatāṁ manaḥ*) the prosperities come to men in flocks.

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Bhāravi's poem is also a *vāda* for the glory of life, for a man's honour. Bhāravi has used the terms *śrī* (beauty) and *prakarṣa* (excellence) for it. The former envisaged the beauty of inner world of man, and the latter his acquisitions and proficiency in outer world. This philosophy disapproves the idea of *mokṣa* — the individual salvation. In the debate between Arjuna and Indra in canto XI of his epic, Bhāravi emphatically builds up this philosophy within the poetic form adopting *vāda* designs.

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Indra appears in the disguise of an ascetic and approaches Arjuna, the ascetic. He speaks for the path of renunciation.

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The worldly objects appear charming apparently, but they give pain ultimately (XI.12). The desire is the greatest deceiver. (*śraddheyā vipralabdhāraḥ priyā vipriyakāriṇaḥ . . . kāmaḥ kaṣṭāḥ hi śatravaḥ*. — *Kirātārjunīyam* XI.35

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Arjuna gives a befitting reply to Indra in his pursuits of life and he negates the whole philosophy of individual salvation.

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*Śiśupālavadha* of Māgha similarly begins with a debate on the dilemma of Śrī Kṛṣṇa, i.e. whether he should go to attend the Rājasūya ceremony at the invitation of Yudhiṣṭhira or should immediately launch an attack on Śiśupāla, the antagonist, who has been since long remained a threat to all who are virtuous and generous. Like Draupadī and Bhīma in *Kirātārjunīyam*, Balarāma, the elder brother of Kṛṣṇa delivers a passionate discourse in favour of vanquishing the enemy first. Māgha actually uses the word *uttara-pakṣa* (acceptable view) in a sarcastic tone for the outburst of Balarāma. Śrī Kṛṣṇa had signalled Uddhava to give his opinion, but an impatient Balarāma, seized the opportunity to speak first. Uddhava, restrained himself as if allowing the speech of Balarāma to manifest as an *uttara-pakṣa*.³⁵ Balarāma however appreciates the preciseness of Kṛṣṇa and elaborates upon the quality of the speech of adept persons, which can silence even the lords of speech.³⁶

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As a text inherently steeped in *vāda*, *Śiśupālavadha* presents the onslaught of Vaiṣṇavism. The abusive language which Śiśupāla used for Kṛṣṇa, interspersed with jeering and teasing tones, forms the *pūrva-pakṣa* of the opponents of Vaiṣṇavism, whereas Kṛṣṇa, who remains silent and unmoved at the vandalism of his adversary, just gives a rebuttal by his action which culminates finally in slaying Śiśupāla.

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*Naiṣadhacaritam* of Śrīharṣa is a masterpiece of a towering scholar and a Vedāntin of his standing and is also an example of *śāstrakāvya* where philosophy, knowledge and scholarship are combined playfully with poetry; poetry breathes in philosophy and philosophy appears in poetic garb. Canto XVII of this epic engages in a scene of intense debate. Damayantī, the beautiful princess of Vidarbha, has chosen Nala as her husband in the *svayamvara* and the four gods — Indra, Yama, Varuṇa and Agni — are returning after attending the event. They are confronted by the entourage of Kali on the way — the advancing multitude of dark forces is led by *kāma* (lust), *krodha* (anger), *lobha* (greed) and *moha* (delusion).³⁷ Moving like a storm, one of the leaders of the multitude starts delivering a discourse highlighting the heterodox systems, especially the philosophy of Cārvāka. The melodrama reaches high pitch with the four gods representing the path of *dharma* being confronted by Kali in a debate. The spirit of sin appears in the form of Kali with his accomplice Dvāpara. Infuriated by the news of Damayantī's having chosen Nala, Kali vows to take his revenge. The gods try to dissuade him and urge upon him to give up his mischievous designs. A sharp altercation and exchange of repartees follows.

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The notorious Kali loiters in the city of Niṣadha utterly frustrated but awaiting his chance to devastate Nala, while King Nala performs his rituals as per routine and chants a long hymn to Viṣṇu. In the last canto (XXII) Nala entertains his beloved after duly performing the evening ablutions and the poem ends with the graphic descriptions of darkness and then bright moonlight. That Śrīharṣa wanted to design his epic as a debate between atheism and theistic schools, and projecting poetry as an assertion of his faith in Vaiṣṇavism and an argument against non-Vedic sects and schools of philosophy is evident from his discourse.

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