' (; "Bhatti's Poem") is a Sanskrit-language poem dating from the 7th century CE, in the formal genre of the "great poem" (mahÃÂkÃÂvya). It focuses on two deeply rooted Sanskrit traditions, the Ramayana and Panini's grammar, while incorporating numerous other traditions, in a rich mix of science and art, poetically retelling the adventures of Rama and a compendium of examples of grammar and rhetoric. As literature, it is often considered to withstand comparison with the best of Sanskrit poetry.
The ' also has ' ("The Death of ") as an alternative title. It is improbable that this was the original title as Ravana's death is only one short episode in the whole poem. It may have acquired this title to distinguish it from other works concerning themselves with the deeds of .
The poem is the earliest example of an "instructional poem" or '. That is, not a treatise written in verse but an imaginative piece of literature which is also intended to be instructive in specific subjects. To modern tastes, however, this can create an unpardonable artificiality in the composition. To the critics of late classical times in India technical virtuosity was much admired. Much of the 's popular success could also be ascribed to the fact that it must have been useful as a textbook.
The author, , describes himself at the end of the book: <blockquote>
</blockquote> Even this eulogy is unreliable since variant readings of the verse show that his patron may have been à Ârë Dharasena. Either way, the composition of the poem is placed at about 600 CE.
In form the ' is a âÂÂgreat poemâ (mahÃÂkÃÂvya). It fits well within the definition of this genre given later by in his âÂÂMirror of Poetryâ the KÃÂvyÃÂdarà Âa: <blockquote> It springs from a historical incident or is otherwise based on some fact; it turns upon the fruition of the fourfold ends and its hero is clever and noble; By descriptions of cities, oceans, mountains, seasons and risings of the moon or the sun; through sportings in garden or water, and festivities of drinking and love; Through sentiments-of-love-in-separation and through marriages, by descriptions of the birth-and-rise of princes, and likewise through state-counsel, embassy, advance, battle, and the heroâÂÂs triumph; Embellished; not too condensed, and pervaded all through with poetic sentiments and emotions; with cantos none too lengthy and having agreeable metres and well-formed joints, And in each case furnished with an ending in a different metreâÂÂsuch a poem possessing good figures-of-speech wins the peopleâÂÂs heart and endures longer than even a kalpa. <br /> KÃÂvyÃÂdarà Âa 1.15âÂÂ19 trans. Belvalkar. </blockquote> <blockquote> itihÃÂsa-kathâÂÂâÂÂ-ôdbhà «tam, itarad vàsad-ÃÂà Ârayam, | , <br /> , | , <br /> , | ; <br /> , | , <br /> | . || <br /> KÃÂvyÃÂdarà Âa 1.15âÂÂ19 </blockquote> Its subject matter is the life of a hero who is at once a human soldier yet divine. Each canto has a uniform metre and there is one canto (canto 10) deploying a variety of metres. The end of each canto suggests the topic for the next. The main sentiment or rasa of the poem is âÂÂheroismâÂÂ, (vërya). The poem through its form and subject matter is conducive to the attainment of the four aims of human life ('): âÂÂrighteousnessâ (dharma), âÂÂwealth and power,â (artha), âÂÂpleasureâ (kÃÂma) and âÂÂspiritual liberationâ (). âÂÂs Poem contains descriptions of cities, the ocean, mountains, seasons, the rising and setting of the sun and moon, and the sports of love and sex. Five such poems are traditionally enumerated in addition to which our work is sometimes named the sixth. The five are the (âÂÂLineage of RaghuâÂÂ) and the KumÃÂrasambhava (âÂÂBirth of the war God KumAra/KartikEya/MurugaâÂÂ) of KÃÂlidÃÂsa, the à Âià ÂupÃÂlavadha (âÂÂSlaying of à Âià ÂupÃÂlaâÂÂ) of MÃÂgha, KirÃÂtÃÂrjunëya (âÂÂArjuna and the Mountain ManâÂÂ) of Bharavi and the (âÂÂAdventures of the Prince of NishadhaâÂÂ) of . The multitude of manuscripts found in libraries demonstrates the popularity of the and the thirteen extant and eight further attested commentaries instantiate its importance to the tradition.
âÂÂâÂÂs Poemâ has two purposes: it is both a poetic retelling of the adventures of RÃÂma and a compendium of examples of grammar and rhetoric for the student. As literature, cantos 1, 2 and 10 in particular stand comparison with the best of Sanskrit poetry. The ' provides a comprehensive exemplification of Sanskrit grammar in use and a good introduction to the science (à ÂÃÂstra) of poetics or rhetoric (, lit. ornament). It also gives a taste of the Prakrit language (a major component in every Sanskrit drama) in easily accessible form. Finally it tells the compelling story of Prince RÃÂma in simple, elegant Sanskrit: this is the faithfully retold.
The learned Indian curriculum in late classical times had at its heart a system of grammatical study and linguistic analysis. The core texts for this study were the notoriously difficult âÂÂEight Chaptersâ (') of , the sine qua non of learning composed in the 4th century BCE, and arguably the most remarkable and indeed foundational text in the history of linguistics. Not only is the ' a description of a language unmatched in totality for any language until the nineteenth century, but it is also presented in the most compact form possible through the use of an elaborate and sophisticated metalanguage, again unknown anywhere else in linguistics before modern times. This grammar of had been the object of intense study for the ten centuries prior to the composition of âÂÂâÂÂs PoemâÂÂ. It was plainly âÂÂs purpose to provide a study aid to âÂÂs text by using the examples already provided in the existing grammatical commentaries in the context of the gripping and morally improving story of the . To the dry bones of this grammar has given juicy flesh in his poem. The same could be said for poetics, prosody and Prakrit. The intention of the author was to teach these advanced sciences through a relatively easy and pleasant medium. In his own words: <blockquote> This composition is like a lamp to those whose those who perceive the meaning of words and like a hand mirror for a blind man to those without grammar. This poem, which is to be understood by means of a commentary, is a joy to those sufficiently learned: through my fondness for the scholar I have here slighted the dullard. <br /> ' 22.33âÂÂ34. </blockquote> The traditional story given to account for the technical or shastric nature of the poem goes that âÂÂs class on grammar was one day disturbed by an elephant ambling between him and his pupils. This bestial interruption necessitated an interdiction of study for a year as prescribed by the solemn law books. To ensure that no vital study time was lost our poem was composed as a means of teaching grammar without resorting to an actual grammatical text.
In the first section of the poem, the âÂÂDiverse RulesâÂÂ, where the intention appears to be the illustration of miscellaneous rules, it is not obvious how to determine which specific rule if any is intended to be exemplified in any particular verse. Hundreds of rules could in theory be applicable. The commentators assist somewhat where they cite those rules which they think to be worth quoting in that context. The other guide is the Sanskrit language itself: it is likely that the most unusual or aberrant forms would have been exemplified. The frequent coincidence of these two heuristic principles is also helpful. Where the word in the verse is also given as an example in the grammatical texts then we can be almost certain about the topic. <br /> It could be conjectured at this point that within this section of âÂÂDiverse Rulesâ those verses which were intended to illustrate the grammar would be those without figures of speech or at least with very simple figures. That supposition would be consistent with the lack of ornament in some sections of the poem and would also explain why there is such a marked distinction between âÂÂs high style in canto 1 and much of 2 and his plainer style in much of the rest of the poem. It may be that âÂÂâÂÂs Poemâ was first intended to be a typical courtly epic or âÂÂhigh kÃÂvyaâ and that the idea of creating this new genre of educational poem or âÂÂà ÂÃÂstra-kÃÂvyaâ evolved as the poem was being composed. This is supported by the progression in styles from highly ornate poetry in the first two cantos, through unadorned verse with no apparent systematic exemplification of grammar, the so-called âÂÂDiverse Rules Sectionâ , to the second major section from near the end of canto 5 until the end of canto 9, the "Illustration of Particular Topics".
The is the "Illustration of Particular Topics" in which the verses exemplify in sequence long series of rules from the âÂÂIAST|Aá¹£á¹ÂÃÂdhyÃÂyëâÂÂ. Here again poetry is subjugated to the pedagogic purpose of exemplification: the metre is the humble ' or à Âloka and there are few figures of speech to decorate the tale. This change of metre from the longer 44 syllable upajÃÂti for the first three cantos to the shorter and simpler 32 syllable ' for the next six may also be indicative of a gradually evolving intention.
From the end of canto 5 up to the end of canto 9 the verses exemplify in sequence long series of aphorisms (sà «tras) from the of . These aphorisms are short coded rules, almost algebraic in form.
As an example, consider âÂÂs rule 6.1.77: . This translates as âÂÂWhen followed by any vowel, the vowels i, u, and ' in any length are respectively replaced by the semivowels y, v, r and l.â This is quite a mouthful of translation for five syllables of Sanskrit. How does do it? To start with, the three words of the rule in their uninflected form are ' and ac which are a type of acronym for their respective series of letters: the simple vowels '; the semivowels y, v, r, l; and all the vowels '. The cases are used to indicate the operation which is to take place: The genitive of ik indicates âÂÂIn place of ikâÂÂ; the locative of ac indicates âÂÂwhen ac followsâ and ' in the nominative indicates âÂÂthere should be a 'â or âÂÂ' is the replacementâÂÂ. gives metarules to explain the formation and use of these acronyms and the special uses of the cases within the rules. It is thus a rule for the simple sandhi which would occur for example between the words iti and evam, smoothing the juncture between their vowels into ity evam.
This is but a small taste of the economy, intricacy, beauty and intellectual power of the , surely one of the greatest wonders and perhaps the supreme intellectual achievement of the ancient world. It is to the layman a treasure chest whose key is locked deep inside itself. However, the reader does not have to be familiar with this system to enjoy the . By using the references to the âÂÂIAST|Aá¹£á¹ÂÃÂdhyÃÂyëâ given in the table above, the reader may refer to the rules as he reads and become familiar with them in advance of reading each verse. The examples used in âÂÂâÂÂs Poemâ are not included in the actual aphorisms of the âÂÂIAST|Aá¹£á¹ÂÃÂdhyÃÂyëâ themselves but are ones given by later commentators to facilitate discussion. The most widely used traditional examples are included in the two editions of the âÂÂIAST|Aá¹£á¹ÂÃÂdhyÃÂyëâ cited in the bibliography below.
Each canto from 14 through to 22 illustrates a particular mood or tense. (For more details see the table above.)
A detailed study of the examples given in the ' compared with those of the earlier âÂÂGreat Commentaryâ of Patañjali and later works such as the âÂÂKashi Commentaryâ KÃÂà Âikàand the âÂÂMoonlight on the Traditionâ SiddhÃÂntakaumudë still remains to be done. It remains to be seen to what extent examples of usage may have been introduced into the grammatical tradition by âÂÂâÂÂs PoemâÂÂ. The poem itself might then have become an authority on usage.
This section of the poem has been the most studied in modern times. It constitutes an important text in its own right in the history of Sanskrit poetics. That said, its importance lies in its raising far more questions than it answers. Chronologically it stands between the âÂÂScience of Theatreâ as the earliest surviving text on Sanskrit poetics and the first great systematic treatments of the subject in the âÂÂMirror of Poetryâ KÃÂvyÃÂdarà Âa of (660âÂÂ680 ce) and the âÂÂOrnament of Poetryâ of BhÃÂmaha (700 ce). Tantalizingly, we have the examples only and not the explanations or contemporary commentaries. A major problem of Sanskrit poetics is the lack of agreement on any system of nomenclature for the figures. The figures are given names in some manuscripts of the but this is no proof that these were the names that knew. The fact that this naming of figures is quite different from that of the writers on poetics suggests that they might well pre-date them. If this is the case then in these we have the fragmentary residua of a missing link in the tradition of poetics. It is most likely that based his treatment of the figures of speech on a text now lost. Other questions about this canto present themselves. Why is there only one example of alliteration (anuprÃÂsa)? Was this figure not fully elaborated until ? Why do those verses said to exhibit the figure âÂÂilluminatorâ dëpaka in the manuscripts show nothing of the sort according to later theorists? Given that many of the verses contain more than one figure, does this mean that they were not intended to be a systematic illustration of figures but rather a collection of verses showing diverse poetic traits? Since the order of the names given in the manuscripts corresponds to the order of figures treated by , did he base his work on this order or were the names applied retrospectively to âÂÂâÂÂs Poemâ in an attempt to match it up to later systems? That âÂÂâÂÂs Poemâ canto 10 is a major work on Sanskrit poetics is amply demonstrated by Söhnen in her examination of âÂÂdoublingâ yamaka of 10.2âÂÂ22 showing that the treatment of this figure in âÂÂs âÂÂMirror of Poetryâ and BhÃÂmahaâÂÂs âÂÂOrnament of Poetryâ is influenced by the .
Cantos 11 and 12 are held to display respectively the quality of âÂÂsweetnessâ mÃÂdhurya and the sentiment rasa of âÂÂintensity of expressionâ bhÃÂvikatva. The texts describing these qualities post-date so again we cannot be sure that he intended to illustrate what happens to be described by later authors. Assuming that did intend to show these, their precise characteristics described in his source text would be best discovered from careful analysis of the language of his own work rather than from the pronouncements of later writers on poetics.
Canto 13 is written in what is called âÂÂlike the vernacularâ ', that is, it can be read in two languages simultaneously: Prakrit and Sanskrit. The Prakrit used here is of course no real vernacular but a literary version almost as highly codified as Sanskrit. Because of this PrakritâÂÂs similarity to Sanskrit it can be read in that elevated language by someone with no knowledge of Prakrit. With minor exceptions the vocabulary and grammar used are common to both languages. Where the grammar is not common the differences are disguised by sandhi. As many of the Prakrit terminations originate in Sanskrit forms generalised to their most common forms in sandhi, this is not impossible. As an example, the nominative singular of substantives in -a in Sanskrit is ' and in Prakrit it is -o. In verse 13.2 we have three nominative singulars in -a: ', ' and '. In Prakrit they would be bhimo, raso and samo. Because the following words all begin with voiced consonants, in Sanskrit sandhi the ending ' is in all these cases changed to -o, thus making the form indistinguishable from the Prakrit. Where the Sanskrit termination is undisguisably altered in Prakrit as for example with the instrumental plural ' which becomes -hi, these terminations are concealed within compounds. It is for this reason that long compounds are so extensively used in this canto. The reader will also notice a lack of finite verb forms. It is more common for participle forms to be the same in the two languages. On occasion the commentators need a deal of learning and ingenuity to explain how forms are defensible in both languages. For instance in verse 13.3 the Sanskrit sabhàâÂÂhallâ would normally become sahàin Prakrit by the rule ' âÂÂh is the replacement for kh, gh, th, dh and bh,â ( 2.27). MallinÃÂtha defends the retention of sabhàin Prakrit by saying that there is the continued operation (') of ' âÂÂgenerallyâ from an earlier rule. With the exception of verse 13.7 which is irregular and verses 13.26âÂÂ28 which are in the upajÃÂti metre, the entire canto is composed in the ÃÂryÃÂgëti metre which is the older lyric metre most commonly used for Prakrit texts.
Cantos 14 through to the end at canto 22 are each written in a particular tense or mood. Given that this is a rather broad restriction it is surprising that does not indulge in more ornamentation in these verses. He does include many obscurer roots here but in other respects his language is simple and uncluttered.
The influence of "âÂÂs Poem" has extended to Java where it became the source text for the Old Javanese which is the oldest surviving example of classical Javanese epic poetry (Kakawin). The Javanese follows âÂÂâÂÂs Poemâ closely as far as canto 12, sometimes to the extent of directly translating a verse, but begins to diverge thereafter. It would seem that the form of âÂÂâÂÂs Poemâ as a âÂÂgreat poemâ mahÃÂkÃÂvya was important to the Javanese author as many of his additions make more complete the Old-Javanese âÂÂs conformity to the genre as described by , indicating that his âÂÂMirror of Poetryâ or its precursor as followed by was also available to him. Moreover Hooykaas has also shown that the Old-Javanese uses âÂÂdoublingâ yamaka under âÂÂs influence.