Table Of Content

Gaekwad's Oriental Series Published under the Authority of the Government of his Highness the Maharaja Gaekwad of Baroda General Editor: B. BHATTACHARYYA M.A, Ph. D. Rajyaratna, Jnanajyoti | * Number XCIlI माधवानलकामकन्दठाम्रबन्धः प्रथमः खण्ड! | यय"Eod यecाan.e Tr टं i * a “ en re d . D. " wo “+ ay ME t ' H € ' n , . * + ^ D ui ! ^ LI , | iy n FT MADHAVANALA - KAMAKANDALA PRABANDHA Edited with Appendices, Preface etc., BY M. R. MAJMUDAR, M.A. LL. 8., PROFESSOR OF GUJARATI, BARODA COLLEGE; FOST-GRADUATE TEACHER AND RESEARCH SCHOLAR, UNIVERSITY OF BOMBAY, REVIEWER OF GUJARATI PUBLICATIONS FOR ]938. In Two Volumes Volume | ३०4२ ORIENTAL. INSTITUTE z| DU sn E L Uv BARODA 22 यी uua |]i i Price Rs, PrintPeudb lBibasyhr eoMdd. a onNb .yb eKBhUaElLNfKO AYoRfT NOtISh He aGtBo HvtAheeTr TnKAmaeCrnHntaAt RaYokfY AHP,ir is natHtii ntgghh enP erOserssi se,nt thaCel h iMrI2aj anh satBiratazujtaaer, , GBBaaoermkodbwaaa.yd 2o,f and PREFACE I From prehistoric times, India possessed a fascinating wealth of folk-lore. Literary men from Bhàsa downwards have drawn freely upon it; and all literatures, Samskrta, Prakrta, Apabhraméa, Old and Modern, glisten with its golden threads. The Jdtakas, the lost Brhatkatha, the Kathasaritsagara, the Brhatkathamafijari and the Brhatkathasamgraha are the reputed store- houses of popular fiction. Paiicatantra is another such collection with an all-world fame. Other favourite sources drawn upon by Indian authors were the so-called “King Vikrama-cycle stories "— the Sim- hasanadvatrimsikd, and the Vetalapafica-Vim£atikà. Sukasaptati is another fruitful source of popular tales. Chandragupta II, the Gupta Emperor and the traditional Vikra- maditya of Ujjayini, is the hero of many miraculous tales and is styled “ Para-dukha-bhafijana," the reliever of people in distress. He is the King Arthur of India, who with his gallant knights “rode abroad re- dressing human wrongs." | At one time there was scarcely a house in Gujarat perhaps in many parts of India, where King Vikramaditya’s exploits were not listened to with rapt attention. Samalbhatta (Samvat 760-825) an I8th century Gujarati poet compares their recital with the Ramayana ; accordingly, popular imagination, highly exercised over Vikrama, pro- duced a number of other tales independently of Sanskrit sources, such as the " Vikrama Khāparā cora rasa.” mE | With classical influence on the wane, fiction came into popular favour in Gujarat, as a contemporaneous tendency in Hindi and Bengali literature of folk-tales rendered in verse ; and many authors diverted their attention from religious to secular literature. Even dharma- kathés were presented as portraits of contemporary real life. The popular fictions, unlike religious stories, were not allegorical, nor did the didactic element in them subordinate the human. They were romances pure and simple. The author of the Prakrit poem Vasudevahindi, insisted that romantic stories should be utilised for writing dharmakathàs ; or to say in other words, dharmakathü should be properly diluted with good love-stories in order to achieve the best results. Udyotana Süri, the author of Kuvalayamálà laid down that a story should be like a newly wedded wife, decked with ornaments, auspicious, moving with grace- ful steps, sentimental, soft in speech, and ever pleasing to the minds of men. - | | | | vi | PREFACE KathüTsh e ing ewnheircahl lpouvbel icw,a s ast hwea sc enpterraile cmtloyt ivnea.t uraTlh.e tJoaoikn aa afnadn cyt het on otnh-e oJomtifJafeun ai rrgincwnlania ey aa a l il,ntndt pea hhongc aeeaGltrtaruasssm-js s saa eer-saotāaks fh t a a;.ts ,Gt uh bhubāeujs, taTto riherat nettuwd ht i eaet s khot sfnowfo ereocitwlraiehi a lifslets h , the ohyrrfoec oo bsaijmeusk eamgmicanh,htnnct gu’e sms ia atnnh nddde e div adail reupwiewgoenn,nhpaog utukt nel nwcraewia,rsiaas stpt hepii sewogmi aniattl vghh weei ena nlt claoal.c t oacoi vqrtoeudhn-piAie.aesc nf cicgfutcoa lioriiomrdatn-a-ro aTREEa Toote mOAnRen Es e winhtoe reMswtea rdeoh fa eviaatcsnh a olwoatn h erw'Khsae rmceao kunattrneudrea pallraotv ,e Kiasas tihilatl ,uws etrreah.to ewd evtehrr,o ughh ast woa peurnsioqnus,e =e EI omMafoan sdxep ishmcwTeasohrp neeed ienfrgo rfrfeo usamtletr anirketlpishyones wg e fmiroocp ftra iorbofatin lh,ds le tseoaelrin iynds-fstm ltesuol terlhnyi;ec -nretgaese,n l bdly oe ifrn sip nptr hroleepviisreiresed nsitteniiingnmnt egis tna.hg d e iivdraa tlchutemai abctl rceoah mnladeln sittswie orcra lsttduaylrtley-e entmirnehenitgvtereliramrevec pcadArutluihel csdaoeec.oduds hf s.. a rtabh:co etuw RFeirodratgbiencesabthotd-aeii,csrscr ty ai,tfc crt sa,oen stmasteiidmidntvnoucigecnao,ntn n tit uoaatrntfnoe ird soo a nmal, nld wdeoeto snrfrce eakr ntiisbhbdnfeeonoodmda r pymp lawievtiasnonissgyt o a on gcp eowraosemnef rmod ettooa hhmnneei.d brn hy a ucnwmoncemMaorem ena e nrmocyfbefiro a aedneltyloh]s,yfe ptpofoahrffeer o m tvgiwesenidotnidT oesmehrrtdeybesa .n lyy t; heaofpedcfro u cerecipct,adro rteiuainnreyotctden ieud.pzc aaoarlnt La se o,idmv fn eort.h ,teeai ein ngvtihdeisnl o otycne v;i n eecs| taruesysnl u.edt sd aut nraoediTird nnhd e iesdnaytp anho redntSi thlpaeyflon i okneyseeaot e luhn esat or,;ift mom sife oc snr;oeta -r aoieblfcede esutrh crtieaaanoaiyttfndaie l-or esnldsot eotvrg feoar rnensoig,edft , | VtkrhKihiieenaennsrhvmodooey . ldirdPv niaoerdetf daae hdrcPo egéletcloaeorcfei v,hurskem ra oàrspamn, sra e a,srsb i tsyoonh r h eui iawtntorv hahn iielan Scyborgah fsMin fedtasendhaksdrlcerpiiehe xipn, at tgehev aaoealwpfnfne ra podiasrypd blvu deaabltraalseo ir uis esi cit,Ptl ni oitrtertolesaa e il sbrtl waaeimorhmrgnfeyaeoe dn rnn ,hyttt ahjfies ewol aaioncftfaslmeetut,aeeed r vmrne ee at .r.shb h iywsaem h vnTiaiDowHhcnnauaeehgysgnr h odSi itatnsahnhmstoee e oal y se itysmnoahoé nfnrhlatelihav-eeiyyedr s Aplnagcae s VIc,o vGeürhinàg 64ov3e-r7 6] tw;o anhdu nAdnrgead VvIeIrIs,e s düh(àA ng7a4 6-V8,5 ).d ühà 928-72 ; nayikI&t is( hveerroyin ec)o momno ns eptaor atfiinodn tfhre omd eshcerri ptlioovner ogfi vpeann gsi n odfr almoavse oafn da FREFACE vii in poems popularly known as seasonal songs or songs of the Twelve- months’ cycle of the year—the Baramasi songs. These constitute one of the principal items in the repertory of popular feminine music all over India even now, and especially so in Gujarat and Bengal. (See Kama- kandala Viraha Bara-Masa, Anga Vl, dūhā 37-64), The romance of Madhavanala Kümakandalà by Ganapati is unique in describing the pangs of the hero also at the separation from his beloved (4720 VII, dūhā 737-72). Over and above these two songs of separation, the poem indulges in a pleasant description of the pleasures and pastimes of the united lovers—starting the description at all the three places from Félguna, the month of Spring (Aga VIII, daha 6-36). IT | The tale of Madhavanala-Kimakandals Prabandha, is a tale linked up to the Vikrama-cycle stories of wild, romantic love which fascinated Gujaráta, which is possibly the land which fostered its growth from small beginnings in a Sanskrit prose-version intermixed with occasional verses partly with a direct bearing on the text, and partly in the form of quotations from other anthologies. 'The per- formance of Ganapati is unique in medieval Indian vernacular literature of the early l6th century as a composition designed on the canons oí a Sanskrita mahdkévya, expressed in the current style of Prikrita and Apabhraméa Prabandhas. | | The Prabandha is pre-eminently a love-story of middle class life, in the poetic style of the period, full of delicate touches and refined sentiments. It describes the ideal love of the hero Madhava, a high- class Brahmin for Kamakandali, the young but high-souled daughter of a courtezan—an Apsarā in previous birth, reminding one of Vasanta-Senà in the Mrcchakatika nataka. This fascinating metrical romance has absorbing story-interest, and is even more valuable from the point of sociology and folk-lore. | It is significant that in this poem, even the ordinary rule of invok- ing the help of Sarasvati and Ganeáa in the mangalacarana has been disregarded, and the first and the foremost deity to be reverenced and greeted is the God of Love himself. The author begins with a salute to the son of Rukmini and the husband of Rati, the great hero Madana, whose feet he worships first. We can well imagine the kind of story that would be ushered in by such a prologue, | | | l III The story of the Prabandha told, in short, is like this :— " In the city of Puspavati, where Kamasena rules, lives a Bràh- mana youth by name Madhava, as ‘ handsome as Love’. The women of the town run after him, and the citizens beseech the king to get rid viii PREFACE of so fruitful a source of trouble. The king, in a judicious mood, tries to test the intensity of the fascination exercised by the boy by bring- ing him before his queens. Finding him, however, a danger to his own domestic peace, the king promptly banishes him. “ Madhava, wandering from place to place, comes to Amarüvati. His extraordinary intelligence immediately draws the attention of the local king, who gives him an honoured place in his court. A courtezan- girl, Kamakandala the favourite of the king, is at the moment exhi- biting her first dance in the public. Madhava watches her perform- ance. Admiring her skill in dancing, undisturbed even by a bee which alights on her dress, he presents to her the very betel-leaf which the king had presented to him as a mark of honour. “The king angry at the scant courtesy shown by Madhava to the royal present, orders him to leave the town. The young man with the curse of beauty upon him, while on his way to leave the city, meets Kamakandala “ She invites him to her house. The two meet ; both fall in love with each other, exchange spicy riddles and their spicier solutions, and are happy. In the morning, both part from each other with breaking hearts “Madhava goes to Ujjayini, and describes his distress in verses which he writes on the wall of the Mahakale$vara temple. Wandering in disguise about the city at night, as was his wont, to discover the miseries of his subjects, King Vikrama reads the verses, and he em- ploys an old courtezan to find out their love-lorn author adhava is found, and, is brought to Vikrama. Apprised of the hero's love for Kàmakandala, the reliever of distress forthwith calls upon Kamasena to give her up ; and, on his refusal to do so, marches upon his city with an army. — ZEN | “ Vikrama, however, wants to test the strength of Kamakandala’s love. He goes to her in disguise, and tries in vain to win her for himself. As a further test, he informs her that Müdhava is dead. On hearing of the death of her lover, K&makandalà becomes unconscious, and is on the point of death mE “The King comes back. to his camp, and informs Madhava of Kamakandala’s death. The poor lover also faints “Vikrama, horror-struck at having killed a Brühmana, and a woman, wants to commit suicide. The spirit Vetala, his friend (so well-known as the hero in the VelGlapaficavimésatikd-stories) from the other world comes to his rescue, and revives the lovers. “They are married by the King with great pomp ; and the lovers live happily ever afterwards indulging in pleasures and pastimes be- fitting their honoured place in society." PREFACE Ix IV The Gujarati poet has worked into this tale as Prologue a history of the previous births of the lovers after the style.of the Sanskrit romance of Kadambari, and the Prikrta story of Tarangavati or Tarangalola | This story appears to have been popular mostly in Western India and only at a very late period it came to be adapted in Marathi. The version of the story in Hindi by a Muslim poet Alam styled ‘ Madha- vanalakatha’* (yet unpublished) was composed in Hizri Samvat, 99 (Samvat ]640, A.D. 584), only a decade after Akbar's conquest of Gujarat, at the express desire of Raja Todarmall, for the pleasure of Emperor Akbar, whose exploits were comparable to those of King Vikrama and Bhoja The love-episode of Madhava and Kamakandala had become so much a stock-in-trade that it has been woven as a minor story by Caturbhujadás, a Kayastha poet, in his another equally popular romance of Madhu-Malati composed sometime in the l7th century, richly illustrated manuscripts of which are so well-known. The story is again retold in Gujarati verse in a summary fashion as the Twenty-sixth of the Thirty-two entire new stories, woven round the old superstructure ( चुपई ) * “ जंगपतिराज कोटि जुग कीजे । साहू जलाल छत्रपति FAN ॥ RAI अकबर सुरताना । सप्त दीपमें जाकी आना ॥ धर्मराज सब देश चलावा | हिंदु तुरक पंथ सब लावा ॥ आगे नेउ महामति मंत्री । नृप राजा टोडरमछ क्षत्री ॥ (aar) जो मति विक्रमभोजकी, मंत्र करत मन चेन । gaa वेद. सुमिरत सदा, पुन्य करत दिन रेन ॥ (s ui ) सन नोसे इक्यावनु वे आइ । करो कथा अब बोलो ताइ ॥ कहो बात सुनो अब लोग । करो कथा सिंगार वियोग ॥ कछु अपनी कछु परकृति चोरो | जथा-सकति करि अच्छर जोरो ॥ सकल सिंगार विरहकी रीति । माधो-कामकंदळा प्रीति ॥ कथा संसकृत सुनि कछु थोरी । भाषा बांघि चोपडे जोरी ॥ (gat) माधोनल सबगुन चतुर, कामकंदला जोग करे कथा आलम सुक्रवि, उतपति विरह वियोग ॥ ” | = —From a.copy in my possession