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THE GOLDEN SWANA Critial analysis of Sriharsha’s Naishadha Kavya

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Gunturu Seshendra Sharma

Memorial Trust

Hyderabad : India

- A Great secret hidden for eight centuries

- The swan has been telling her story for 800 years

but no one has identified who she is....

- Naishdha Kavya a trinity of

Mantra, Yoga Vedantha Sciences

- Sriharsha a Srividya Upasaka

- Damayanthi is none other than

Sri Maha Tripurasundari

- Ajapaa Gayathri Chinthamani Thiraskarani

mantras treasured in this kavya....

Seshendra : Visionary Poet of the millenniumhttp://seshendrasharma.weebly.com

Seshendra Sharma

Translated by

Dr. Gurajada Suryanarayana MurthyScientist, Retd.

BABA ATOMIC RESEARCH CENTER

Author & Translator

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Contents

1. Seshendra’s Profile - 05

2. Gunturu Seshendra Sharma : An Extraordinary

Poet – Scholar : The Hindu - 06

3. About the Translator - 07

4. Translators Note - 08

5. Seshendra a Sri Vidyopasaka a Golden Swan - 10

6. a Literary voyage - 12

7. Foreward - 14

8. Seshendra’s Works - 16

9. Churning of Dhwani - 17

10. A Trinity of the Sciences of

Manthra - Yoga – Vedanta - 32

11. Damayanti Is none other than

Sri Maha Tripura Sundari - 43

12. Naishadha Kavya restates Tradition of Shankara

in a beloved’s Gentle Strain - 60

13. Hamsa Dhwani in Naishadham - 72

14. Manthras Treasured in Naishadha

are Thiras-karini and Chintha-mani - 82

15. Comparative study of Bhatta Harsha and Srinatha - 92

16. The Primary intent of Sriharsha’s Naishdha Kavya -102

17. Annexure - Benedictory Verse of Saakunthalam is

Eulogy of Devi -109

18. Nrinaam-eko gamyaha -122

19. Book Reviews of

Shodashi : The secrets of the Ramayana -127

The Golden Swan 6

Gunturu Seshendra Sarma:

an extraordinary poet-scholar

One of the ironies in literature is thathe came to be known more as a critic than a poet

India's National Newspaper

U

Friday, June 01, 2007

HYDERABAD: An era of scholastic excellence and poeticgrandeur has come to an end in the passing away of GunturuSeshendra Sarma, one of the foremost poets and critics in Teluguliterature.

His mastery over western literature and Indian `AlankaraSastra' gave his works a stunning imagery, unparalleled in mod-ern Indian works. One of the ironies in literature is that he cameto be known more as a critic than a poet. The Central SahityaAkademi award was conferred on him for his work `KaalaRekhalu' and not for his poetic excellence.

The genius in him made him explore `Kundalini Yoga' inhis treatise on Ramayana in `Shodasi' convincingly. His intellec-tual quest further made him probe `Naishadha Kaavya' in thebackdrop of `Lalita Sahasra Naamavali', `Soundarya Lahari' and`Kama Kala Vilasam' in `Swarna Hamsa'.

Seshendra saw the entire universe as a storehouse ofimages and signs to which imagination was to make value-addi-tion. Like Stephene Mallarme who was considered a prophet ofsymbolism in French literature, Seshendra Sarma too believedthat art alone would survive in the universe along with poetry.He believed that the main vocation of human beings was to beartists and poets.

His `Kavisena Manifesto' gave a new direction to moderncriticism making it a landmark work in poetics. Telugus wouldrue the intellectual impoverishment they suffered inmaintaining a `distance' from him. Seshendra could have givenus more, but we did not deserve it! The denial of the JnanpeethAward to him proves it.

The Golden Swan 8

A Note by Translator

Saatyaki, son of Gunturu Sheshendra Sharma came tome on 7 July 2014 and gave me some Telugu books writtenby his father. There were two among them which he showedspecially and requested me to translate them into English.One is Shodasi Ramayana Rahasyamulu and the other isSwarna Hamsa. At the outset I felt I would not be capable oftranslating them into English because my knowledge ofTelugu was limited to primary school only. But my secondlanguage was Sanskrit which I had to study up toIntermediate class. Hence I have some knowledge ofRamayana. So I said to him that I will try to Translate ShodasiRamayana and see later what I could do with Swarna Hamsa.

By the grace of God I completed the translation of ShodasiRamayana Rahasyamulu into English by the end of the year2014. It was reviewed by several academic scholarsfavourably.

I could not feel comfortable with Swarna Hamsa at thebeginning because the subject was entirely strange to me. Itwas a story of Nala and Damayanthi mentioned in MahaBharata. But the way the subject was discussed by SheshendraSharma was extremely new and yet attractive. It is theconcept of Dhwani which is familiar to all literary scholars.My knowledge of this subject is absolutely nil, but the waySheshendra Sharma pointed out the limitations of thecontemporary scholars, was extremely educative. It showedthat Dhwani is an artistic way of giving a message in a codedlanguage which can be understood only by a receiverendowed with necessary virtues. It is also the way theManthras are taught in a coded language that every onecannot grasp. Thus he showed that Swarna Hamsa is notmerely a scholarly subject but it contains many Manthrasgiving transcendental knowledge.

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I am indeed grateful to God who prompted Saatyaki toask me to translate Swarna Hamsa from Telugu into English.They were like eye-openers to me to see new fields ofspiritual world. I have great pleasure to bequeath thecopyrights of this translation to him.

Dr. Gurajada Suryanarayana MurthyScientist (Retd.)

Baba Atomic Research Centre

The Golden Swan 10

SESHENDRAA SRIVIDYA UPASAKA: A GOLDEN SWAN

---In Sanskrit literature there are two well - known writers

with the name Sriharsha. One was a king (Harshavardhana7th century AD), a follower of Buddhism and author of threeplays – Nagananda, Priyadarshika and Ratnavali. Thesecond Sriharsha of 12 Century AD was a Srividya Upasakaand an eminent poet–scholar. It was he who authored thefamous book Naishadha (The story of Nala and Damayanthi)in sanskrit. Later, in the 15th Century, Srinatha, TheLegendary Telugu poet, translated it into Telugu metricalpoetry. Srinatha was a Saivite and perhaps was not formallyinitiated into the Shakteya form of worship and its praxis.

Srinatha could not decipher the hidden mystery ofDamayanthi conceived by Sriharsha as Sri Devi. It wouldseem that it fell to the power of intuition of Seshendra, ourcontemporary poet, to unravel the mystery after severalcenturies. This is indeed a surprise. Sri Aurobindo’s ‘Savitri:A legend and a Symbol’ is witness to his being the sacredprivy to Pristine Savitri Mantra. Very similar is Seshendra’sGolden Swan, which transcends its apparent meaning ofbeing a mere commentary to niche of mystic trancecommitted to words. Thus in his Shodasi: Secrets of theRamayana are included Trijata Swapna and Gayatri Mantrais in itself a mystery. For, apparently in his Shodasi,Philosopho-poetic intuition, the dream of Trijata (in theAshoka Vana) is verily the Gayatri Mantra as discerned bythe deep yogic sensibility of Seshendra (A nigoodha Yogi).

I have had intimate relationship for over six decades withSeshendra. All who know him admire him for is poetic|genius but mostly from reading his recent prose and poetryworks. Even so, how many of them who have read GoldenSwan and Shodasi: Secrets of the Ramayana will have seen

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the mystic surrounding his poetic vision?Saatyaki has now requested me to review Swarna Hamsa.

He is devoted to filial adoration. It is only because of thisthat volumes of Seshendra’s works are seeing the light of theday again.

The sacred Mantras: Ajapaa Gayatri, Chintamani are thecommon heritage of many upasakas. Not all of them mayhave read Sriharsha’s Kavya. Even those who might haveread only now know through Seshendra that Sriharsha is inreality a Srividya Upasaka.

Srividya, the highest form of devotion to Enlightenment,which gives liberation (Vimukthi) from the travails of boththe worlds, has its own trinity of Mantra, Yantra and form ofworship. Mantra is called Panchadashi. In this context itwould be helpful to study the commentary on

“chaturbis Sreekanthais Siva yuvatibhih panchabhir apiprabhinna abhis Sambor navabhir api moola prakritibhihchatus chatwaarimsad vasu dala kalaasra trivalayatri raekhaabhis saartham tava Sarana konaah parinataah”

11 Sloka in Shankaracharya’s Soundarya Lahari.Contemporary literature is beset with many diversities anddivergences. A swan, they say, can separate milk from water.How many scholars have the calibre to do a swan,unearthing the inner meaning of the text? Seshendra, likethat mystic swan, did it with aplomb. Because of this uniquequality Seshendra is a Golden Swan.

Prof. M. Shiva Prasad Professor of Telugu (Retrd)

Osmania University

Karthika Purnima15-11-2016

th

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“Siva is able to be a creator if (He is) accompanied byShakti. He is even immobile in the absence of Shakti. Hence,Shakti is adorable even by Hari, Hara and Brahma who arethe Protectors of the worlds. How can anyone become fit toadore, or praise such Shakti without acquiring the requisitemoral excellence?”

Similarly, Rasa, the bliss of Para Brahma is notexperienced in the universe unless aided by diligentinference called Dhvani. In the absence of Dhvani, there isno capacity to experience Rasa. Hence the literary pioneerslike Kalidasa and others gave great importance to Dhvani.Such dedication to Dhvani is impossible withoutextraordinary high level of moral excellence.

Shakthi which, by virtue of association, impels pure ParaBrahman to become a creator, is never separated nordistinguishable from Pure Brahman. So also, Dhvani thatleads to the experience of Rasa, is never separable from Rasa.This reasoning is rooted in the ‘inseparability of cause andits effect’. Which is Siva and which is Shakthi in theinseparable pair of Rasa and Dhvani? Rasa is the highestexperience and Dhvani is the effort. Their inseparability islike that of the Universe which leads to the realization ofPara Brahman. Hence Siva is Rasa and Shakthi is Dhvani..

Rasa is the personification of Bliss (Ananda). Sruthi says‘Raso vai saha’ which is well known in the rhetorical world.Dhwani is Para Brahman because it is inseparable from Rasa.

Preface

CHURNING OF DHWANI

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Siva ssakthyaa yuktho yadi bhavathi sakthah prabhavithum,na ce devam devo na khalu kusalah spandithumapi,

athasthvaam aaraadhyaam hari hara –virinchaadibhirapi,

prananthum sthothum vaa katha makruthapunyah prabhavathi?

The Golden Swan 18

How does the inseparability of Rasa and Dhwani exist? Onewho happens to enjoy Rasa is filled with its exhilarationtotally. Literally one becomes Rasa itself. That is the statewhich Abhinava Gupta described in the words: ‘Vigalithavedyantharamathi’ On account of a certain ability of theobserver, the characters on the stage rise above the materiallevel to a transcendental world with which he identifies andenjoys supreme bliss. When one is absorbed in thattranscendental experience, the barrier created by thematerial world is removed. Thereby, the inherent culturaltraits reveal the reality. Such activity leading to Rasa is theresult of the actors as well as the various gentle moodsdisplayed by them. When these moods are expressed inwords, they convey only literal meaning. But the Bliss ofRasa arises only out of the transcendental experience whichis beyond the realm of words. However, the spoken wordsand the moods displayed by the actors do play a significantrole in the experience of Rasa. ‘The Hero and the Heroineembraced each other’. When this statement is heard, one getsonly the meaning of words. After hearing the statement, theRasa of the amorous state is experienced. Hence Rasa is notcontained in the spoken words. If it exists, then merehearing the word ‘cow’ should lead to the experience of theform of cow. It is not happening in that way. Hence theexperience of Rasa can only occur through ‘insinuation’(Lalanam). Sounds and words are only insinuators and Rasais the insinuated. Therefore, the word Dhwani actuallydescribes Rasa only. Dhwani has the capacity to insinuate. Itis a means for reaching a transcendental goal. That is Rasa.Hence we find here three words, Paramartha, Rasa andVyangya referring to only one object. It is proper in thiscontext to use the word Dhwani in place of Vyangya since thepurpose is to reach transcendental goal of Rasa. In this wayRasa and Dhwani are inseparable. How can this bepossible in case of rhetoric and Dhwani? Thus, a doubt may

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Damayanti is not Damayanti in Naishadha! Though shemanifested in the Kavya as Damayanti, she is thetranscendental truth of Sri Maha Tripura Sundari in the formof Dhwani. The entire construction of the verses in the Kavyawas oriented towards revelation of such Dhwani. Sri MahaTripura Sundari is the original Shakti, Universal Mother,undifferentiated by space and time and endowed withun-paralleled virtues. Harsha Bhagavatpada describes Herin the verse as follows:

Damanaadamanaak prasedushaSthnayaam thathyagira stapodhanaathVaramaapa sa dishta-vishtapaThrithayaa nanya-sadrugguno-dayaam

If we see from the point of the Kavya: Sa=Bhima bhupathih,Amanak prasedushah=Analpa nijopaasanaya prasannath.Thapo dhanaath, damanaath thadhya giraha thanayamvaramaapa, katham bhuthaam Thanayam? Dhishta vishtapathrithaya ananya - sadrugguno dayaam.

Bhimaraju obtained a daughter as a boon given by theimmutable blessings of powerful Damana, who was pleasedby his prolonged penance. The pre-eminence of his daughter’svirtues was unparalleled in the three worlds at any time andwould not be surpassed in the future. The poeticcomposition and the deployment of words was unusual, Inthe usual manner adopted for a Kavya, and if there is no aimat incorporating a special meaning, there is no need to adoptsuch a method. I will attempt to examine the verse for any

DAMAYANTI

Is none other than

SRI MAHA TRIPURA SUNDARI

Sri Maha Tripura Sundari

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The Golden Swan 44

possibility of special meaning. Any extraordinary beauty isdescribed in a Kavya as Jagadaika sundari or Thrailokyasundari, or it will be written that such beauty was no wherefound. But no one writes that such beauty was never found.In fact there is no need to describe in that manner (If it is theintention of Kavya itself) . It is not merely an exaggeration tosay that we do not find it anywhere, and that it would neverbe known. It would amount to speaking about somethingthat cannot be substantiated. If this is said in connectionwith Damayanthi, the poet must be speaking either truth orfalsehood. A person like Harsha must be speaking only truth.If something is said to be nowhere and also never existed,such description does not apply to any human being. It mayapply to that which is beyond the limits of space and time.That is only one. There is no second one.

That is called Brahman. Brahman only is called Siva inthe science of Manthra. The entire science of Manthra is theessence of the Pair, Siva –Shakti. There is no mention of Sivawithout Shakti, and similarly there is no mention of Shaktiwithout Siva. The whole subject is dedicated to worship ofBrahman who is meditated upon as an inseparable Pair.‘Dwidhaa-bhutam rupam Bhagava-dabhi-dheyam bhavathi’The basis of the whole science of Manthra is theinseparability of the Pair. Therefore all the literature seen inthe Manthra science appear as adjectives to both Siva andShakthi. For example, in the Lalitha Sahasra Namavali, theManthras, ‘Thathpada lakshyarthayai nama’, ‘Sarva vedanthalakshithayai namah ‘Nirdwaithayai Namah; ‘Bhukthi mukthi-maha bhakthi-virakthya-dvaithayai- namah’; ‘Kameswara-Brahma-Vidyaayai namah’: ‘Chandassaaraayai namah’;‘Sasthra saaraayai- namah ’; ‘Dwaitha varjithaayai namah’‘Nirdwaithaayai namah’; ‘Samsaara-panka-nirmagna-samuddharana-pandithaayai namah’; ‘Bhava naasinnyainamah’…Mula-Prakrithi is the Shakthi who is the cause ofSamsara is called Bhava kaarana, is also called Bhava naasini

The Golden Swan 72

Hamsa Dhwani in Naishadham

‘Payodhi Lakshmi mushi-keli palvaleRiramsu Hamsee-kalanaada saadaram,Sa thathra chithram viharantha mantikeHiranmayam Hamsa mabodhi Naishadhah

‘Naishadha saw one wonderful Hamsa of golden hue, whois beautiful like Lakshmi, looking fondly at a group ofsqueaking Hamsas in a lake of sport, and wandering gentlynear them only.’ That is the meaning of the verse.

If we compare Naishadha with the body, the verse,‘Sriyameva param’ becomes Sahasrara, which is the seat ofBindu, and the verse ‘Payodhi Lakshmi’, becomes the Heart.This verse is replete with great meaning like all other verses.If we examine it a little more carefully, we find that the wayof choosing the words, the meanings suggested by them, areunusual and are arranged very skillfully. It would have beenenough if it was only said that while strolling in a garden,Nala saw one Hamsa in a lake. As a poet, he could haveadded various qualities to Nala, Hamsa and the Lake. He canincrease them as much as needed. But, it was not done so.The writing moved in a curious manner. The reason is thatHarsha Bhagavatpada had a different ambition. The Kavyawas merely an instrument. What was achieved by Him?

The Lake in the Kavya was qualified by the word ‘PayodhiLakshmi mushi. It is not a word taken to suit the literaryrules of instantly composing verses. Could it not be ‘SamudraLakshmi’? Samudra is an ordinary word. Saying ‘Payodhi’need not be understood as ‘Payah payodhi. He is referring to‘Ksheera-saagara’ Hence, the poet means only ‘Ksheerasamudra raja thanaya,’ by this adjective. He did not say, as

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Nannaya Bhatta said, that Hamsa is ‘Saradabhrasakalaa’. Heused the word ‘Hiranmayam’. The whole secret of Naishadhais contained in this. While there is doubt whether Hamsasexist in the world or, it is more wonderful to speak aboutHiranmaya- Hamsa. Therefore, the poet used the qualifyingword ‘Chithram’. But, what is the significance of the wordHiranmaya?

I have given evidence in the preceding discussion thatMaha Bharatha of Vyasa was the source for the history ofNaishadha. I have also shown that it contains Swarna Hamsaof Naishadha. This Hamsa is the presiding deity of AjapaGayathri associated with ‘Agnee shoma garuth-dhwaya’Manthra. Vyasa mentioned Swarna Hamsa only. The skill ofdescription in Naishadha is not seen in Maha Bharatha. Vyasaindicated presiding deity of Ajapa Gayathri by the name ofSwarna Hamsa. Harsha enlarged the description of the sameSwarna Hamsa in a number of verses of Naishadhabeginning from the verse ‘Payodhi Lakshmee’ in a mannerwhich can yield many meanings. Swarna must be thepresiding deity of Ajapa Gayathri only. Its Dhyana Slokastarts as: ‘Udyadbhaskara koti koti sadrisam.’ The word Swarnais explained ‘Sushtu runothi dheepyatha ithi Swarnam’.(It shines brilliantly.) The phrase ‘Udyadbhaskara’ alsoindicates brilliance and so it is used instead of Swarna. Thereare many authoritative examples in Sruthi for suchinterpretation. In the fourteenth Anuvaka of Taittireeya, wefind: ‘Ya yesho- ntharaadithye hirnmayah-purushah’. Themeaning is brilliance but not gold. The meaning is the samein sixteenth Anuvaka for, ‘Hirnyaaya Namah’, and‘Suvarnaaya Namah’. In the science of Manthra, Siva isdescribed as a form of Brilliance. In the Kama Kala vilasa wefind, ‘Antharleena vimarsaha paathu Mahesah Prakaasamaathra thanuh’. In the famous Sree Suktham, the words‘Hiranya varnaam harineem’ are well known to all. SriVidyaranya Swami commented as, ‘Hiranyasya suvarnasyeva

Hamsa Dhwani in Naishadham

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