Haravijaya’
The Haravijaya, Its plot is based on the Purāṇic myth of the demonic offspring of Śiva, Andhaka, who, having gained power over the world, terrorises it. The gods turn to Śiva for help, who finally defeats him, after due diplomatic exchanges and warfare, before the background of which plot many other topics are dealt with by the poet.
The Haravijaya, composed by 9th century Kashmīrī poet Ratnākara, is the largest surviving epic poem- Mahākāvya. It consists fifty cantos, of 4321 verses. The Haravijaya’s first canto, named *Purīpurārivarṇana, 6 starts with three benedictory verses to Śiva, Viṣṇu and Brahmā. The theme is the slaying of the demon Andhaka, born of Śiva when Pārvati playfully covered Śiva’s eyes. By doing austerities Andhaka gains sight and becomes master of the three worlds, until Śiva finds it necessary to kill him.
As Mahakāvya’s scheme, Śiva the hero’s capital is described in first canto. Canto 2 is a description of Śiva’s Tāṇḍava dance performance, (Tāṇḍavavarṇana) in places using terminology of the Nāṭyaśāstra. The seasons described in canto 3; mount Mandāra in canto 4 and5; In the sixth canto the seasons, together with other deities, approach Śiva to ask him to do something about Andhaka’s terror making their lives miserable. Before bringing up the matter with Śiva, he is duly praised by spring, this hymn forming the major portion of the canto.
Śiva’s counsellors’ debate- politics up to canto 16. An envoy is dispatched to the demon to give up the realms he has usurped- up to canto 29. Heaven is described in two cantos-30 and 31. Exchange of speeches covered in seven cantos. Śiva’s forces get ready for battle- in four cantos. Insertion of a hymn to the goddess ‘Canḍi’ up to canto 47. The epic poem ends in canto 50 with the death of the demon Andhakāsura.
As Mahakāvya’s scheme, Śiva the hero’s capital is described in first canto. Canto 2 is a description of Śiva’s Tāṇḍava dance performance, (Tāṇḍavavarṇana) in places using terminology of the Nāṭyaśāstra. The seasons described in canto 3; mount Mandāra in canto 4 and5; In the sixth canto the seasons, together with other deities, approach Śiva to ask him to do something about Andhaka’s terror making their lives miserable. Before bringing up the matter with Śiva, he is duly praised by spring, this hymn forming the major portion of the canto.
Śiva’s counsellors’ debate- politics up to canto 16. An envoy is dispatched to the demon to give up the realms he has usurped- up to canto 29. Heaven is described in two cantos-30 and 31. Exchange of speeches covered in seven cantos. Śiva’s forces get ready for battle- in four cantos. Insertion of a hymn to the goddess ‘Canḍi’ up to canto 47. The epic poem ends in canto 50 with the death of the demon Andhakāsura.
The epic- Haravijaya deals with the poetic aspects, which go far to determine the success of a literary composition, in all its comprehensiveness, like sentiment, rhetorical embellishments, metre, poetic merits and demerits, theme, characterization, and comparison with other previous compositions of the artistic era.
This Mahakāvya contains vivid treatment of the natural aspects, which have lent charm to the whole poem, and have led the poet to give a free vent to his magnificent imagination. The grandeur and the realism of his descriptions reflect the age old Vedic tradition, where the sages sought their inspiration in nature, "in the caves of mountains, and in the confluence of rivers"
This Mahakāvya contains vivid treatment of the natural aspects, which have lent charm to the whole poem, and have led the poet to give a free vent to his magnificent imagination. The grandeur and the realism of his descriptions reflect the age old Vedic tradition, where the sages sought their inspiration in nature, "in the caves of mountains, and in the confluence of rivers"
As Dr. S.K. Sharma notes, there are noteworthy similarities between Mudrārākṣasa by the playwright Viśākhadatta and Haravijaya. Negative statement of the Mudrārākṣasa is turned into a positive expression in Haravijaya. There are similarities in incidents, both contain political and ethical speeches, the importance of Nīti- policy, characterisation etc.
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