Unit 11 Indian Classical Literature: An Introduction

Unit Structure

11.0 Objective
11.1 Introduction
11.2 Meaning of Classical Literature
11.3 Concept of Classical Literature or Classics in Indian Literature
11.4 Need for Translation of Indian Classical Literature
11.5 Different Types of Indian Classical Literature
11.6 Indian Classical Literature: An Introduction
11.7 Let Us Sum Up
11.8 Exercise
11.9 Suggested Readings

11.0 Objectives

After reading this unit you will be able to know:

 what is classical literature;

 How to identify classical literature.

 Importance and necessity of classical compositions:

 What are the main classical works of Indian literature, and

 Translations of classical works in various Indian languages.

11.1 Introduction

In the units of the previous block, you got detailed information about the importance and necessity of
translation work. You also know about the tradition of translations from ancient times till now.

Under this heading, we will first consider what classical literature is and in the same sequence, we will
discuss the importance of classical literature, the Indian concept of classical literature etc.

11.2 Meaning of Classical Literature

In every tradition of literature, such compositions have always been known which are not limited to any
one country and period. At the time and the place where these compositions are written, their superiority
is accepted in that time and that place, but outside that also they get importance. Such compositions are
called classics in English. Three nouns are being used in Hindi for classics – classical literature,
Gauravgranth and Shrenya Sahitya.

There is no single experience of life and the world in any timeless creation. Due to this, it does not remain
confined to any one country. Its relevance keeps on increasing in the coming times. A classic work has
been interpreted anew in every age. It takes on different meanings in different communities of readers.
Along with this, it has a profound impact on its later tradition of literature. Classics are part of the culture

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of their country. At the same time, they also play a big role in making the culture of their country. They
not only inherit, but also create a legacy. In the Greek language, the drama Oedipus of Sophocles or the
epic poem Homer's Odyssey are examples of classical works. In Indian classics, Ramayana,
Mahabharata, Silpadikaram in Tamil language, dramas and epics of Kalidas or Tulsidas'
Ramcharitmanas, Rabindranath Tagore's Gitanjali or Nirala's Ram ki Shakti Pooja are examples of
classical compositions. Being small or big in size does not make the creation timeless. Mahabharata is
the biggest epic of the world. It has about one lakh verses. Meghdoot of Kalidas is a short poem. It has
only 100 verses. But Mahabharata and Meghdoot both are classics. Mahabharata has left a deep impact on
the literature of Indian languages. Poems have been written not only in Sanskrit, but also in other Indian
and foreign languages on the observance of Meghdoot. If we want to take an example of a classical or
contemplative composition, then the name of Shrimad Bhagwad Gita can be taken.

11.3 Concept of Classical Literature or Classics in Indian Literature

Classics are epoch-making creations. They save values of life. Cultural heritage is created. In the tradition
of Indian literature, the most true to this concept of two poetic classics are Ramayana and Mahabharata.
The author of Ramayana is Valmiki. In the tradition of Sanskrit poetry, this composition has also been
called Adikavya. Although the Vedas or Vedic literature had been composed before the Ramayana,
Ramayana was called Adikavya because it was the first work composed in the vernacular Sanskrit or folk
language. The scope of both the plot and the narrative subject is very wide. The culture and soul of the
nation is included in both. The basic tone of Ramayana is of compassion, while the basic tone of
Mahabharata is of renunciation, which is why in Ramayana, Karuna Rasa is considered to be the priority
and in Mahabharata, Shanta Rasa is considered to be the priority. Valmiki's composition is filled with the
sentiments of love, affection and harmony, the Mahabharata realistically portrays the violence, hatred and
discord prevailing in the society, which culminates in renunciation. Valmiki's creation is idealistic,
whereas Vyasa's realistic. One has predominance of Bhavatatva (emotion) and the other has Buddhitattva
(brain).
In our literary tradition, the classics are well defined by the examples of Ramayana and Mahabharata.
Both have also been called Arsha Kavya and Upjivya Kavya. The word Arsha is derived from Rishi. The
poetry kept by the sage is Arsha poetry. Acharya Vishwanath in his Sahitya Darpan has defined both
Ramayana and Mahabharata as Arsha Kavya. One, who can see, is a sage. Upbjivya poetry refers to such
poetry, which widely inspired or influenced the literature to be composed later. Many epics and plays are
directly influenced by Ramayana or Mahabharata. Along with this, the concepts of criteria and structure
of the epic were also formed on the basis of these two Upjivya poems. Various elements of later poetic
creation flourished from Ramayana and Mahabharata.

11.4 Need for Translation of Indian Classical Literature

Classic literature is an important heritage of any country or society. It is the responsibility of the society
and the citizens of the country to save it. We can also protect classical literature through translations. If
the original language in which a classic is written has gone out of use, then the need and importance of
translating such a classic increases. William Jones translated the the great poet Kalidas’ play
Abhijnanasakuntal into English. This English translation was also translated in German by Foster, after
reading which the great poet Goethe was fascinated. In fact, the publication of only one translation of
Abhijnanasakuntal brightened India's image in the world and helped in awakening national pride among
Indians.
One translation of any classic is never enough. This happens for two reasons.
1. The range of meaning of a classic work is so large that it cannot be translated into another
language.

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 2. The language of two translations is relevant in a limited country- time. Along with this, the new
generation also determines its meaning according to its own understanding along with the old
meaning. That's why it is said that each new generation must translate for itself.

11.5 Different Types of Indian Classical Literature

There are two types of literature: idea-oriented literature and fine literature. Under the idea-oriented
literature, come the works presenting philosophical or classical thinking. Poems, stories, novels etc. come
under fine literature. Classical literature can be of two types from the point of view of composition style,
objective and subjective. Ideea-oriented literatures are objective, and the compositions expressing the
feelings of a person are subjective. In Indian classical literature, there are genres of poetry, story, novel,
epic, etc. Epic is considered to be the most prominent in the genres of poetry. The word Mahakavya (epic)
is made up of two words Mahat and Kavya. Mahat means great. The use of this noun 'mahat- kavya' is
first found in Valmiki Ramayana. There Valmiki Ramayana has been called Mahat-Kavya. In the
tradition of the masters of poetry, Ganya Bhamah has given the characteristics of an epic in the following
way:
It is a poem of great size (mahat) and a representation of the character of great people. In this mantra
(consultation, mantra), messenger, war is described and the rise of the hero is shown. The epic should be
devoid of rustic words, rich in meaning, ornamented and presenting the character of good men. In this
there should be presentation of Chaturvarga (Dharma, Artha, Kama and Moksha), Loksvabhava and all
Rasas should be depicted in it.

11.6 Indian Classical Literature: An Introduction

Here we will discuss some of the major works of ancient Indian classical literature. Classical literature is
also called upjivya poetry. In the course of time, creation of abundant literature on the basis of these
compositions has happened.

Ramayana: An Introduction

The names of the seven kandas of Valmiki Ramayana are - Balakand, Ayodhyakand, Aranyakand,
Kishkindhakand, Sunderkand, Yudhkand and Uttarkand. Each kand is divided into several cantos. There
is an account of Rama's exile in Ayodhya Kand. In Aranya Kand, the residence of Ram, Sita and Laxman
in Dandakaranya, the killing of Shurpanakha, Khar-Dushan etc., the abduction of Sita and the lamentation
of Ram are depicted. In Kishkindhakand, the meeting of Ram-Sugriva, Balivadh and Hanuman etc. going
in search of Sita are described. Sunderkand describes Hanuman's arrival in Lanka and his meeting with
Sita and burning of Lanka. The Yuddhkanda describes in detail the battle between the armies of Rama
and Ravana, which ends with the slaying of Ravana. Many narratives are stored in Uttarkand with the
description of Ramrajya.

Ideal and message of Ramayana

Valmiki explains how to avoid these evils through great characters like Ram, Hanuman, Bharat. In the
description of Dashrath, Sugriva and Ravana, he gave a realistic depiction of the disunity of the kings and
the Kshatriya society.
The old King Dasharatha's attempts to woo his young queen Kaikeyi seem to be in conflict. Valmiki has
expressed his distaste for Dasharatha's sexuality. With the depiction of Sugriva's luxuries in
Kishkindhakand, there is a sharp reflection of the selfishness and self-forgetfulness of the ruling class.
Ravana's character itself is the embodiment of the despotism of the ruler and the lack of opulence. In

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response to this type of degeneration of the feudal society, Valmiki presented the character of great
Maryada Purushottam like Ram. Ramayana gives inspiration for continuous good deeds in life. Humans
should accept the crisis and sorrow coming upon them with a natural sense because these crisis and
sorrow are not going to last forever. Because of them, one should not think of renouncing the world by
abstaining from work. Ram suffered so much in his life. All the characters of Ramayana overcome the
moments of frustration and disbelief in life and describe good thoughts and deeds. It has been said in the
Mahabharata that this story (Mahabharata) will be the source of all the poets and people will continue to
say or write it in different ways.

Relevance of Ramayana and Mahabharata

There is no such great poet of Sanskrit, who is not influenced by Ramayana and Mahabharata in one way
or the other. Raghuvansh of Kalidas has the shadow of Valmiki's work. Valmiki Ramayana is at the root
of many beautiful fantasies of Meghdoot. On the other hand, Kalidasa's Abhigyanshakuntal is based on
the Shakuntalopakhyan of the Mahabharata. Pratima and Abhishek of Bharata, Kundmala, Bhavabhuti's
Mahaviracharita and Uttararamacharita’s Murari Anarradhav, Shaktibhadra’s Asharyachudamani,
Rajasekhara's Balaramayana, Virupaksha's Unmattaraghav, Vamanbhattavan's Raghunathacharit,
Jayadeva's Prasannaraghav, Rajchudamani Dixit's Anandraghav etc. dramas present the story of
Ramayana.. Poet Pravarsen's epic written in Prakrit language, Setubandha Kumardas's epic Jankiharan,
Bhatti's epic, etc., many important epics or dramas are inspired by Ramayana. Among the Champu
poems, Bhoja's Ramayanachampu, Venkatadhvari's Uttarchampu etc. are based on Champukavya's
Ramayana. In the eleventh century, the great poet Kshemendra presented the essence of Ramayana and
Mahabharata in his Ramayanamanjari and Bharatmanjari. The six metaphors of the month present
different episodes of the story of Mahabharata. Many epics and dramas like Bharavi's Kiratarjuniya,
Mattanarayan's Venisanhar and Rajashekhar's Balbharat etc. are inspired by the Mahabharata.

In fact, all the literature written in India about Ramkatha or Mahabharata, is not the original source only
for that, but all the poetic literature that has been composed in Sanskrit, the Ramayana and the
Mahabharata are the original source of all of them. It is because after the Vedic verses, the form of cosmic
verses was clearly revealed in these two, the concept of epic or relationship also appeared in them, and the
norms of rasa and ornamentation were also established by them. Ramayana and Mahabharata have a deep
and far-reaching impact not only on Sanskrit literature, but on the literature of all Indian languages.

It has been said above that classic compositions make a tradition. Kamban Ramayana was composed by
taking inspiration from Valmiki Ramayana in Tamil language. Kamban Ramayana is a huge book of ten
and a half thousand verses. It is divided into six sections.

Mahabharata was translated into Telugu language by Nannaya Kavi. The time of Nannaya is 10th to 12th
century. In the 15th century, the poet Molla presented an independent and abbreviated version of
Valmiki's Ramayana in Telugu under the name Mollaramayanu. Adikavi Bhanubhakta's (born 1914 AD)
composition in Nepali language based on Valmiki Ramayana, Satkand Ramayana is known for its
originality. Kritivas Ojha composed Kritivas Ramayana in Bengali language in the fifteenth century. It
has had an impact on the Kritivasiya Ramayana. Kritivas has given a unique form to his Ramayana by
adapting it in Bengali language and culture. The oldest composition among the malayalam language is
'Ramcharitam'. It was composed around the twelfth- thirteenth century.
Ramakayapattu has an important place in Malayalam literature after Ramcharitam in the poems based on
Ramayana. In Malayalam, Tuchantu Ramanujan Eshuttacchan is the pioneering writer. His two works are
the Ramayana and the Mahabharata are the pillars of his immortal fame. In Courtiers of King Durlabh
Narayan (1330-1350 A.D.) in Assam Hom Saraswati was a poet, he wrote Prahladcharit. Three
compositions of the second poet Harihar Vipra are found, Lavakush Yudh, Babruvahana Yudh,
Tamradhvajar Yudh, under the patronage of Durlabh Narayan's son Indranarayan, Kaviratna Saraswati

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composed the poem Jaydrathavadh, it is also based on Mahabharata. In the Mahabharata, there is a
reference to the promise of victory by Arjuna. The same context is in this composition. Jayadravvadh
poem of Maithilisharan Gupta is also based on this incident. The Ramavibha of the 15th century poet
Arjunadas in Odia language is a fine example of a classic work. But Saraladas is the best classical creator
who presented great compositions in Odia based on Ramayana and Mahabharata. His time is also
fifteenth century. His Mahabharata proved to be an epoch-making creation in Odia literature. Vilanka
Ramayana is the second work of Sarladas. Pampa is a adikavi of Kannada. Although his Bharat is based
on the Mahabharata, it is also a vivid and impressive depiction of the character of his patron Arikesari II.
Mahakavi Ponna has a second place in Kannada literature after Pampa. He wrote Ramkatha epic. There is
a popular version of Ramayana in Kashmiri language called Ramavataracharita.

Kalidas

After Ramayana and Mahabharata, Kalidas is foremost among the classical writers of Sanskrit. Seven
poems of Kalidas' are famous. Two of these epics are Raghuvansh and Kumarasambhava, two
Khandakavya or Geetikavya are Meghdoot and Ritusamhar. There are three plays - Abhigyanshakuntal,
Vikramorvashiya and Malvikagnimitra.

Meghdoot: An Introduction

Kalidas has set new standards in each work. In Ritusamhar, he presented the first poem to engrave the
image of the country's land changing with the rotation of the seasons. Through Meghdoot, he created such
a unique work that gave birth to a very rich tradition of Sandeshkavya or Dootkavya. A small composition
of about hundred verses can become the promoter or subgenre of an enriching poetic tradition, it has
rarely happened in world literature. The subject matter of Meghdoot is as follows: There was a Yaksha.
Once this one who sat carelessly in his duty. Due to this he was banished from the country for a year by
his lord Kubera. Then the Yaksha camped in the hermitages of Ramgiri. He spent eight months living at
Ramgiri. On the first day of the month of Ashadh, a cloud appeared to him resting on the Ramgiri
mountain. Living alone for so many months, his state of mind was reversed in separation. It came to his
mind that this cloud can take my message to my beloved. Simply, he started telling about himself, his
beloved, requesting Megh to take his message to Alka city. The whole poem ends in the words of the
Yaksha. Yaksha shows the route from Ramgiri to Alka to Map, in which the cultural splendor and natural
beauty of the whole country has been included in the fierce expression of separation. In Uttarmegh,
Yaksha describes his city Alka and tells the address of his house, then guesses what his beloved Yakshini
would be doing in the house. Then he pours out his sadness, love and passion in the message he tells to
the cloud to tell the bird. The depiction of the intense agony of separation and the aspiration and hope of
meeting is at its height in Meghdoot. As the time of meeting approaches, the yearning for separation
increases. The Yaksha fantasizes about his beloved and tells Megha what she would be doing when she is
separated from him. By reading the text, you can understand the world of Meghdoot.

Translation of Indian classical literature into modern Indian languages (She will find you engaged in
worship. Or in my separation, you will find her making my picture extinguished with her emotion. You
will find her talking to the Mynah, Do you remember my Swami, you were very dear to him?) In his
message sent to Yakshini, Yaksha has given a poignant expression of his anguish, anxiety, shyness, and
love. Small incidents of his daily life shake the strings of the mind.
(I want to make your picture on the rock with metal rag (Ocher) and make myself falling at your feet in
that picture, until then my vision becomes gone due to the tears flowing. The cruel creator couldn’t see us
meeting in that picture too.)

The style of Kalidas is euphemistic, that is, to fill the ocean in a jug. They intertwine chains of
innumerable expressions in each word. How the Yaksha spent eight months while living on Ramgiri, the

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poet has revealed this thing in one word Kanakavalayabhransharitprakoshtha: - The Yaksha with the wrist
lost due to the fall of the gold bracelet. Don't know when and where the bracelet fell. His wrist remained
loose. The estranged women gaze at the cloud with hope. In this description, the poet has given an
adjective for the Padhikavanitas- 'Udgrihitalakanta: - With this one word, the poet has expressed the
whole condition of those women by sliding the locks of curly hair above their hands. Single women do
not groom their hair. Due to scattered hair, they fly again and again and come in front of the eyes, so
those locks slide up. Before Kalidas, no such poem was composed in which the poet does not tell any
story, portrays the dream, aspiration and psyche of a man by tearing the layers of the character's mind.
Along with this, the poet has also included the outside world in the words of Yaksha. Therefore, even
such a rare union of Prakriti or the human mind and the external nature or the world is not found
anywhere else. The beauty of pilgrims and mountains like Ramgiri, Vindhya, Himalayas, beauty of rivers
like Ganga, Dharmanvati, Vetravati, Narmada, Dashapur (Mandsaur), Vidisha, Ujjayini, Haridwar,
Kankhal etc. all these specialties have been realized in Meghdoot. Cultural awareness and spiritual
sentiment are as much woven within Meghdoot as are the decorations and melody in it. Meghdoot is also
the poetry of man's infinite dream, life and the exclusive loyalty of love. In Meghdoot, Kalidas has shown
that a true man never loses, and true love never dies. (Some people say that affection is lost in separation,
but in reality, while meditating on your beloved in separation, the fragrance of love keeps increasing
within the lover and the amount of love goes on accumulating.) . There is no major language in which this
unique creation has not been translated, more than fifty translations of Meghdoot have been done in Hindi
and other languages.

Kumarasambhava: An Introduction

The Kumarasambhava epic has the story of the marriage of Shiva and Parvati. In its first canto, the
grandeur, pure and natural beauty of the Himalayas are beautifully depicted in 15 verses. After that
Himalaya's marriage to Maina, origin of mountain named Mainak from her and then description of
Parvati's birth, childhood and youth and beauty. In this canto, Narad comes to meet the Himalayas. It
prophesies that Parvati will be married to Shiva. Since then Parvati starts going daily to worship Shiva
who is doing penance on Mount Kailash. In the second canto, the deities who are afraid of Tarakasura,
who have become invincible by Brahma's boon, go to Brahma to get protection from him. Brahma tells
them that the child born to Shiva and Parvati will kill Tarakasura. Then Indra sends Kamdev to break
Shiva's penance. In the third canto there is a detailed description of the pastimes of Kamadeva and the
arrival of spring. When Kamdev reaches in front of Jai Shiva, then he remains bewildered and perplexed
in front of his influence. That's why Parvati went there to worship Shiva like everyday.
Seeing Parvati's matchless beauty, Kamdev's courage returns, and he thinks that being in front of such an
infinite beauty, he will definitely be able to break Shiva's penance. Shiva accepts the worship as usual,
and at the same time, understanding the opportune moment, Kamadeva, perched on the branch of a
nearby mango tree, draws an arrow from his bow of flowers. Shiva feels some movement in his mind and
then his vision falls on Kamadeva. By the time the deities in the sky could shout and say that God stop his
anger, Kamdev would have turned into ashes after being consumed by the fire emanating from the third
eye of Shiva. The fourth canto describes the lamentation of his wife Rati in front of the ashes of
Kamadeva. In the fifth canto, Parvati decides to do penance as she has understood that Shiva cannot be
appeased by form after seeing Kamadeva turning into ashes. Mata Maina requests him not to leave the
house for penance. But Parvati goes to the forest after taking the permission of her father and starts doing
harsh penance. Impressed by Parvati's intense penance, Shankar disguises himself as a Brahmavari and
comes to test her. They condemn Shankar in front of Parvati. Parvati reprimands them then Shankar
appears in his real form and holds her hand and says that from today onwards I am your slave bought
from your penance then Parvati requests her to talk to her father for marriage. In the second canto, there is
a context of the Saptarishis going to the Himalayas to discuss the marriage of Parvati with Shiva from
King Himalaya, and in the seventh canto there is a very fascinating description of the marriage. The epic
ends with a description of the courtship of Shiva and Parvati in the eighth canto. Kumarasambhava is a

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heroine oriented epic. In this, the act of Parvati is overshadowed, she worships him to get Shiva, and also
wants to woo him in her own form. When she realizes that Shiva is not engrossed in external beauty, she
sees the devotion and devotion of the mind, then she does great penance to get Shiva. The language of
dialogues in Kumarasambhava is very heartwarming. Especially in the fifth canto, the dialogue between
Brahmachari Batu (disguised Shiva) and Parvati is extremely amusing due to the use of puns, then in the
third canto, in order to get work done in the dialogue between Indra and Kamadeva, what words does
Swami ask his servant? The poet talks to him and what the servant says after being ecstatic with his
praise, the poet has given an interesting description of this. The description of Shiva in penance is a high
example of the spiritual vision of the poet.

Kumarasambhava's description of nature brings out the unique delicacy and immense splendor of the
universe. The description of Himalayas in the first canto gives a real feel to the entire environment of the
region. The poet has depicted the herbs burning at night in the Himalayan caves, the advanced trees of
Saral, Bhoj and Deodaru, the cascading waterfalls of Bhagirathi, the Kirat roaming around. With the
brush of words, it has been written in a delightful form. The eighth canto is a priceless treasure of Sanskrit
literature from the point of view of nature's description. Here the poet has decorated nature with infinite
beauty.

The similes of Kalidas present the subject of description with new understanding. The poet's talent shows
a unique miracle in bringing praise according to himself. Describing the teachings of Parvati, the poet
says that as swans' wings come to the banks of the Ganges in autumn, as medicines themselves glow in
the night, so the one with a mind fixed in instruction, the knowledge learned at birth came on its own.

In Kumarasambhava, the great poet has distinguished the strong and pure form of love. Shiva cannot be
found by external beauty. True love shines only in the fire of penance. Hazariprasad Dwivedi clarified the
message of Kalidas in Kumarasambhava and said, 'In Kumarasambhava, the poet has tried to express the
philosophy of life by putting it on a very big stage. The love of man and woman is blessed only when
there is union of penance with renunciation and love with opulence. Life becomes meaningful only by the
harmony of sacrifice and enjoyment. Kalidas has also told in this epic that Shiva is incomplete without
Shakti. In short, he has also portrayed the symbolic form of the characters of both the mythology of Shiva
and Parvati.

Raghuvansh

The Raghuvansh epic consists of nineteen cantos. In this, starting from Dilip till Agnivarna, the character
of the kings of Raghukul is described. The character of King Raghu is very impressive in this. The name
of the dynasty was also named Raghuvansh or Raghukul after the name of this Raghu. The naming of
Raghuvansh of the epic is also significant. Because in the second canto, King Dilip asks for such a son
from Nandini, the holy cow, who will take the dynasty forward or increase the name of the dynasty.
Storyline In the first canto Dilip goes to his Guru Vasishtha's ashram to ask for the solution to have a
child. Vasishtha advises him to serve Nandini cow. The second canto describes Dilip's service to Goseva,
Dilip's test and Nadini's happiness. The birth of Raghu in the third canto and the victory of Raghu after
his coronation in the fourth canto are described, in which the poet has also given a panoramic view of
different regions of India. In the fifth canto, the sacrifice of Maharaja Raghu, who donated his everything
by performing Vishwajit Yajna, has been depicted very impressively and inspiringly. At the end of this
canto, King Bhoja of Vidarbha country sends messengers to Raghu for the swayamvara of his daughter
Indumati and Raghuputra Rajkumar Aja leaves to participate in the swayamvara. There is an enthralling
description of Swayamvara in the sixth canto. Indumati puts a garland around Aja's neck. In the seventh
canto, Aja marries Indumati. Other kings who came to Swayamvar wage war with Aja and are defeated.
In the eighth canto, Raghu retires from the kingdom handing over the kingdom to Aja. Next, the death of
Indumati by the touch of the rosary that fell from Narada's harp and the extremely pathetic lamentation of

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Aja is described. The ninth canto begins with a description of the reign of Dasaratha. Dasaratha kills
Shravankumar due to the illusion of Vanyagaj and he is cursed to die in separation from his son. In the
tenth canto, Dasaratha's Putreshtiyyagya, going to Vishnu to help the deities afflicted by Ravana, Vishnu's
announcement to destroy Ravana by incarnating as Dasaratha's son and the birth of Rama etc. are
described. In the eleventh canto, Vishwamitra takes Rama and Lakshmana to the hermitage for the
protection of his yagya, the killing of Taadka- Khar-Dushana, Rama and Lakshmana’s visit to Mithila
with Vishwamitra, Rama breaks the bow of Shiva, Rama, Lakshmana, Bharata and Shatrughan Incidents
such as marriage and defeat of Parshuram etc. are described. In the twelfth canto, Dasharatha
contemplates Rama's coronation, when Kaikeyi asks him for a boon. In this canto, the context of Rama's
exile to Shurpanakha context, Sita’s abduction, killing of Bali, search of Sita, Ram-Ravana war, killing of
Ravana is depicted. In the twelfth canto, Rama shows Sita beautiful views of the earth while returning to
Ayodhya in the Pushpak vimana. This canto is special in terms of authentic description of geographical
places, portrayal of sad memories of separation from Sita and representation of eternal beauty of Indian
peninsula.

The fourteenth canto describes the kingdom of Rama after the coronation of Rama. In this canto the
abandonment of Sita by Rama due to philandering is described. In the fifteenth canto, sages dwelling
around Yamuna persecuted by Lavanasura request Rama for protection. On Rama's orders, Shatrughana
leaves for the battle with Lavanasura. On the way stay at Valmiki's ashram for dinner. In the same night,
Sita gives birth to two sons. Shatrughana has a close fight with Lavanasura. Lavanasura is killed.
Shatrughan establishes Mathuranagari on Yamunatir. Here, in Valmiki's hermitage, Kush and Luv receive
lessons in singing the Ramayana. Leaving the burden of governing the cities of Mathura and Vidisha to
his sons, Shatrughan once again goes to Ayodhya to meet his elder and stops once again at Valmiki's
hermitage on the way. There they hear the hymn of Ramayana from the mouth of Kush and Luv. After
this, there is a description of the killing of Shambuka by Rama and the ritual of Ashvamedh Yagya. At the
same time, Kusha and Luv come to Ayodhya and Rama hears the Ramayana from the mouth of his sons.
Valmiki pleads with Rama to accept Sita again, stating her innocence. Sita prays to the earth to take her in
her lap, the earth appears and takes Sita in her lap and goes beneath. At the end of this canto, Bharata is
made the king of Sindhudesh and Bharata returns to Ayodhya by handing over the rule of this place to his
sons Taksha and Pushkal, handing over the rule of Karapath to the sons of Lakshmana and finally the
great journey of Rama, Lakshmana etc. is described. . The sixteenth canto begins with the description of
the rule of eight Raghav kings including Kush over land of all India. In this canto, Ayodhya appears to
Kush in a dream in the form of a beautiful woman and calls for her salvation. Kush leaves his new capital
Kushavati and returns to the capital Ayodhya. While living in Ayodhya, Kush one day takes a jalvihar in
the Saryu River. One of his ornaments falls into the water. While searching for it, he meets Nagraj
Kumud, and Nagraj Kumud gives him his daughter Kumdati as a bride. In the seventeenth canto, there is
an impressive description of Kush's son Atithi's very noble personality and statecraft. In the eighteenth
canto, the rule of many kings from Atithi's son Nishadha to Sudarshan has been described. In the
nineteenth canto there is an account of Agnivarna king. Agnivarna dies, due to excessive luxury and the
ministers put his pregnant queen on the throne Source- Poet Kalidas is influenced by Valmiki in the
representation of the character of Dashrath, Ram and Luv-Kush. Valmiki's style and expression inspired
him. Nevertheless, seeing the difference in the description of the later Raghuvanshi kings with respect to
Dilip, Raghu Aja and Atithi, from the presentation of Valmiki Ramayana, scholars speculate that Kalidas
used ancient forms of Vayupurana or Vishnupurana for his story, apart from Valmiki Ramayana.
Raghuvansh is a unique epic depicting the rise, fall of a great and glorious dynasty and through it the past
and devotion of the nation of India. Multiple dimensions of Indian religion, philosophy and culture have
been strung like bright gems in Raghuvansh's theme. In the praise of Vishnu by the devas in the tenth
canto, the philosophical elements have become spontaneously expressed in the poetic style. By depicting
a lustful and luxurious king like Agnivarna, the poet has shown that even in such a great dynasty there can
be degeneration and ejaculation. But Raghuvansh does not end with Agnivarna. Kalidas has presented a
very glorious culmination of his epic in a symbolic form with a sense of renewal and optimism.

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The queen of King Agnivarna continued to rule her husband's kingdom lawfully by obeying her husband.
The character of the first six kings in this epic is depicted in detail. Later, giving a rapid pace to the flow
of the story, the poet has included the whole story of Ramayana in four cantos. In the eighteenth canto,
the history of the lineage has been narrated in poetic form by telling the character of many kings in one or
two verses. The description of the ashram in the first canto is very inspiring, which presents a living
picture of the tapovans of the sages of ancient India. Kalidas's mind is special in the description of
ashrams. In the depiction of the ashram, he personifies our cultural splendor and ideals of life. In front of
culture, he has repeatedly made the state power bow down. In the second canto, there is a heart- warming
description of Dilip's cow- service and beauty of the forest around the Himalayas. With the interest of
Raghu's Digvijay in the fourth canto, the poet has given a very beautiful picture of beauty of the whole of
India. The descriptions of war in the sixth and twelfth cantos are very vivid. The description of Mrigaya
in the ninth canto is very interesting. Similarly, the description of marriage of Aja and Indumati in
Swayamvara in sixth and seventh presents an authentic depiction of marital law. The depiction of
Vidarbha's women's rush to see Aja in the form of groom after marriage creates a unique creation of
humor, and it is also a reflection of the poet's subtle observation of word painting. Kalidas weaves very
accurate analogies at every step in his descriptions. He amazes us with his innovative imagination in
similes and also makes the described subject real in front of the eyes. In the context of Aja to
Swayamvara, Indumati comes out in front of each king with a garland in hand. The king's face lights up
with hope when he sees Swayamvara in front of him and the same face dims with despair when Indumati
walks past him without putting the garland around his neck. Describing this situation, the poet has
compared Indumati to a moving lamp. Like a messenger Deepshikha is walking on the highway at night,
and when she comes in front of her, the streets of the road get enlightened and when she leaves, then they
get drowned in darkness.

Characterization - Kalidasa presents man in all his dignity and perfection. All the characters of
Raghuvansh have their own distinctive personalities. Dilip takes root in our hearts for his generosity,
sacrifice and easy-going nature while Raghu impresses for his bravery and great prowess that gives the
nation a solid foundation. The character of Rama is central and transcendental in the entire epic. The
portrayal of the guest's ethical skills is also inspiring. Ras - Raghuvansh's Angi Ras is Veer. The four
forms of heroic character, charity, mercy, righteousness and war, have been reflected in the Raghu
dynasty. In all these four types, in fact, the brightest and influential form of Dharmaveer is expressed
throughout the epic. The poet has given Dharmaveer the highest prestige in his poetry by realizing these
ideals in the energetic depiction of the character and works of many kings like Dilip, Raghu, Ram, Atithi
and others.
Dayavir's initiative in offering his body for the protection of King Dilip's Nandini cow is an impressive
presentation. Raghu's donation of infinite wealth in Vishwajit Yagya and his insistence on giving all the
gold amount received from Kuber to a brahmachari named Kautsa, shows the unique form of Danveer,

Raghuvansh is a great national epic. The heights to which this country has attained cultural and moral
ideals,

Raghuvansh presents an excellent Sopan tradition to climb them.

Sanskrit Epics after Kalidas

The following three epics are of paramount importance in the tradition of Sanskrit epics after the epics of
Kalidas :

Bharvi's Kiratarjuniya, Magha's Shishupalvadh, Sri Harsha's Naishadhiyacharita, while discussing

Mahabharata, we have told how deep the influence of Mahabharata is on the later literature. These three

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epics are also inspired by the Mahabharata. These three epics were composed between 6th to 11th century
AD. In Bharavi's Kiratarjuniya, there is a very inspiring depiction of Arjuna's penance to avenge injustice.
The poet dreamed of a shining nation is seen in poetry. The Tumul battle of Arjuna with Shiva is very
impressively depicted.

Bharavi is a great poet of strength and brilliance. Through Arjuna, he has presented the image of a hero
who is a bundle of valor and courage.

The path which Bharavi discovered in the field of Sanskrit epic, Magha gave it new heights. In his
Shishupalavadha epic, in twenty cantos and in a total of 1550 verses, there is a story of Shri Krishna
killing the wicked king named Shishupala. In the first canto, Narad comes to Dwarka and inspires Shri
Krishna to kill Shishupala. In the second canto, Sri Krishna receives news of Yudhishthira's Rajasuya
Yagya and consults Balarama and Uddhava on whether to go first to kill Shishupala or go to the Rajasuya
Yagya. Then they accept Uddhava's advice that it would be appropriate to go to Yudhishthira's yagya
first. In the third to thirteenth cantos, the departure of Shri Krishna from Dwarka, the encampment of his
army at Raivatak mountain (presently known as Mount Girnar), Bihar on Raivatak, Paritu, etc. The
journey continues and Shri Krishna crosses the Yamuna and reaches the city of Indraprastha. The meeting
of the Pandavas with Shri Krishna is described in the thirteenth canto. In the fourteenth canto, Shri
Krishna expresses his resolve to serve in the Rajasuya Yagya. Yudhishthira makes him the protector of
his Yagya In the fifteenth canto, Shishupala is unable to bear the honor of Shri Krishna in the yajna and
provokes the kings to insult him. Then he goes to his camp and starts planning an attack on Krishna. In
sixteenth canto, messenger of shishupala approaches and challenges them. Sri Krishna's army also begins
to prepare for battle. The eighteenth and nineteenth cantos describe the bitter encounter between the two
armies and finally the 20th canto describes the slaying of Shishupala by Sri Krishna. From the point of
view of the original source of the epic is the Sabha Parva of the Mahabharata. According to the
Mahabharata, the story of Shishupala's slaughter in Yudhishthira's sacrifice is also found in the tenth
canto of Shrimad Bhagwat. Magha his idol and hero of the epic Shri Krishna has been presented as a
model of bravery, patience and seriousness.

Just as Bharavi has depicted the character of an ideal hero through the character of Arjuna in his epic, in
the same way the poet has realized his vision of a heroic man through the character of the hero Shri
Krishna in Shishupalvadh. The description of the war in the last four sagas of the epic is as vivid and
flowing as it is miraculous. In the descriptions from the sixth to the eleventh canto, Shringar Ras has got
importance. In the sixth canto, he has presented the nature in the color of love, while in the seventh canto,
he has depicted the beautified experiences. In the ninth canto, the luxuries of the people of Shri Krishna's
army and the unbroken stream of adornment have been shed.

Erudition, thoughtfulness, life experience and inspirational messages have been included in Magh's
proverbs. Excellent proverbs are scattered throughout the epic.

There is a story of Nal-Damayanti's love and marriage in Sriharsha's Naishadhiyacharita. In the

description of love of Nal and Damayanti, the poet has given a very poignant depiction of the situations of
Purvanurag, meeting and separation. Damayanti's worry, memory and longing are the accurate depiction
of these states under Poorva Raag. The expression of Damayanti garlanding the tap at the time of
Swayamvara beautifully depicts the feelings of haste and shame. Saraswati wearing the form of a friend
mockingly pulls his hand towards the king and the way Damayanti releases her hand in confusion, a
delightful picture of love, fear, asuya etc. has been presented in it. After the Swayamvarprasang, the poet
has described the sanyog shringar of Nal and Damayanti in detail. In this description, the poet has given
treatises to Damayanti's Shariyaj, Sattvaj and Svabhavaj all three types of ornaments.

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In the depiction of the jokes of the hero and heroine, humor has become the nutrient of shringar. Due to
being experienced towards the Damayanti of the kings and Indradi gods who came in Swayamvar, it turns
into Shringararasabhas. By depicting the affection of her parents towards Damayanti, the poet has also
given a poignant expression to Bhavadhwani or Vatsalya. The emanation of compassion in the words of
the swan when caught by the tap is also very impressive. Hans says-

(I am the only child of my mother, my mother is troubled by old age. My Hansini has just given birth to
chicks. I am the only support for both of them. O Creator! Is your compassion not stopping you while
killing me like this?)

In the description of the qualities of Nal, all four types of Viraras have been expressed in
Naishadhiyacharita - Danveer, Dayavir, Dharmaveer and Budhveer. There is also wonderful rasa in the
depiction of the praise of Nal and Damayanti after seeing the golden swan. The way both of them become
awe-struck by seeing each other in the first meeting of Nal and Damayanti, in that context, the wonderful
rasa becomes a part of the shringar. Even in the description of Kiktadhip etc. Swayamvarsag kings, the
poet has skilfully arranged the comic wonderful. Sitting around the deities taking a similar form of a tap
and finally coming back to their natural form when they had swayamvar, there is an undercurrent of
wonder in the depiction of this incident as well.

11.7 Let Us Sum Up

In this unit you learned about Indian classical literature. You also got an introduction to some of the main
classic works of Indian literature through this unit. We learned that the classical creation is not limited to
any one country and period. Its relevance keeps on increasing with the passage of time. A classic work
has been interpreted anew in every age. Along with this, they also play a big role in making the culture of
their country. Being small or big in size does not make a work classic; translation of classic works can
give recognition to any country, society or caste in the world. Along with this, they also play an important
role in the formation of world culture.

In the next unit, we will discuss the translation of ancient Indian classical literature into modern Indian
languages.

11.8 Exercise

1. What is the identity of a classic composition?

2. State the need for translation of Indian classical literature.

3. Who is the author of Ramayana?

4. What is called Adikavya?

5. What is the main (Angi) Rasa of Ramayana?

6. Name the seven Kandas of Valmiki Ramayana.

7. Name the works of Indian languages influenced by Ramayana.

8. Give an introduction to the epics of Kalidas.

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 9. The tradition of Sandeshkavya or Dootkavya originated from which poetry?

11.9 Suggested Readings

 Sharma, Gopal, Tara Tikku and Jagdish Chaturvedi (c), A Brief History of Literature in Indian
Languages, Delhi, Central Hindi Directorate

 Panicker, K. Ayyappa: Medical Indian Literature Series (Vols. 1-4), Delhi, Sahitya Akademi

 Raghavan, V.: The Ramayana Tradition in Asia, Delhi, Sahitya Akademi.

 Das, Sisir Kumar, A History of Indian Literature, Delhi, Sahitya Academi

 Day, S.K. 1959 ; Aspects of Sanskrit Literature, USA, University of California.

 Keith, A.B., 1993: A History of Sanskrit Literature, New Delhi, Motilal Banarsi Das

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