రాజగోపాలవిలాసము/Introduction
INTRODUCTION
Rājagōpāla Vilāsamu, which is now printed and published for the first time, is a prabandha in five cantos, written by Chengalva Kā!akavi, and dedicated to the last Nayak King Vijaya Raghava Nayaka (1633-1673). son of the illustrious Raghunātha Nāyaka of Tanjore. Though this work is brought to light at present in the Tanjore Saraswati Mahal Library series, it has been referred to hy Scholars years ago and the present writer ' brought to the notice of Telugu literary public, the importance of the work in the Southern school of Telugu Literature, as it gives a complete picture of the sangīta, Sahitya and Nātya activities in the beginning of Vijayarāghava Nāyaka's reign, as well as his personal history, which is not known to us from other sources.
DESCRIPTION MANUSCRIPTS.
The print edition is based on the following palm leaf manuscripts of the Saraswati Malal Library :- described as under.
D. 233. H. 257 : It TIL.Zlotes (A small portion of the beginning and a verse at the cud is lost.)
D. 224. 11. 30S IS X 194 l.-IS (This contains the Islarika portion, the first 86 verses)
D. 222, AL. 256 IS 1/4 L-52 Gr. 1300
I N Venkata kao, , Article 11 Trlugu enlitle: "Tanjāpurindhra Vàogmayarı (Telugu Literature ruting to Tanjore) in the time of Nayak Kings (1535—1673). Silver Jubilee Xiun bar of Andhra Sahitya Parished (Telugu Academy, Kulja.l2-1936.) Pages 150–164. The avatārika or the introductory portion is styled as "Vijayaraghava Vamsavaļi", and seems to have been separated from the original when copies were made out. No other copy of the work seems to be available any where except the above.
Vijayaraghava Vamsavali (No. 222) M. 256. The separation of the introduction or the Avatārika portion from the text, led some scholars *[1] to think that it is a separate work from Rājagõpālavilisamu, but on a thorough examination of the work it was found that the portion contains the first eighty-six verses, the last five of them being the usual "Shashțyantas' or the dedicatory verses (five kandas from 81-85) relating to Vijayaraghava Náyaka. A separate work describing a Vamšavali can never end in such a manner, and so the above work is not separately printed but incorporated in the present edition of Rājagopala Vilasamu with which it has to be naturally combined.
AUTHOR-KALAKAVI
Chengalva Kāļakavi, is not well known to Telugu Scholars. Though he was living at the time of Raghunatha Nayaka (1614–1633), yet as we shall see later, he was attached to Vijayaraghava Niyaka from the beginning and does not therefore appear in the court of Raghunatha. From verse 28, we learn the following about his family and literary attainments. He belongs to Pakanați Arvela Niyogi Brahmin Family of Sri Vatsagotra. He mentions that his grand-father was Kālaya and his grandmother Gangama. His father is Venkatayya of ministerial fame and won the title of "Ranaranga gandhavāraṇa" for his military prowess. He is also a great poet and wrote Parvati Parinaya and other works, which unfortunately have not come down to us. His mother belongs to Rāvinūtala family and is the daughter of one Tirumalayya.
As for his literary attainment, he is known as Lalitõkti Bhāravi .. and was a great devotee of Sri Kãlahastiśwara. In verse 30 Kālakavi, gives one important information; that he is the teacher (Guru) of Rāmabhadramba', the well-known Sanskrit and Telugu poetess in the time of Rágbunătha and also of Krishnäji another poetess in the time of Vijayarāghava Näyaka.
"Ghatikisatagruntha ghatanotkatanavīna
Pandityagarimaluũ bhaliyananga
Oshthyaniroshthyirli māddāmarasagarbha
Sandarbhamaunani sannutimpa
Mūkandamanjarī madhujharīmādhurya
Rachanavisēshamauivananga
Paribritetara yuktibiniganutan' katha
Chaturyadhurvatā samstutimna
Ayyadinamula Ramabhadrimbavaru
Nély krishniji kavitache nerp:i merasi
Viuntiseyutalella nichanata gide
Kavi vinuta charya Chenglva Kalanārya"
3 Bhāravi in Sanskrit is snown loc his farthalgaur av.) .un! Dandin for (Padualitya) Kalakay, by 'l.!.ikti (hr.«"mount that he possess the combined Milities of Duniani! :rili, the two great South Indian Sanskrit poets.
4 Introductiou to Raghunathabhyalayam of Ramabluadramba.
Edited by late T. R Chintamani Madras University Bulletin of the S:11: skrit Department No. 2. Introduction page 1-2. సీ. ఘటికాశతగ్రంథ ఘటకోత్కటనవీన
పొండిత్య గరిమలు భళీయనంగ
నోప్యనికోపాది కోద్దాము సగర్భ
సందర్భమౌసని సన్నుతింపు
మాకంద ముంజరీ మధుఝరీ మాధుర్య
రచనావి శేష మారాయనం,
పరిహృ తేతరయు క్తి భాగ నూతనకథా
చాతుర్యమర్యత సం స్తుతింపు
గీ. ఆయ్యదినము) రామభద్రం: పొరు
నేడు కృష్ణాజు కవిత చే నేర్పు మజిసి
వినుతి సేయుట వెల్ల సి.ఘనతగాదె
కవివినుతచర్య!
! చెంగల్వ కాళసౌర్య!
(1-80)
This verse giving this information is put in the mouth of Vijayaraghava Nayaka. The poet evidently voices forth the respect which the members of the Royal house-hold had for Rāmabhadrāmba.
The poetical talents of Kalakavi were highly appreciated by his contemporaries, especially Vijayaraghava. N1yaka, who himself, is a great poet and play-wright. From verses No. 33 to 37, and from the colophon at the end of each canto, we learn that Kalakavi Wits not only honoured as a poet but also as a courtier of high rank, endowed with all the royal insignia by Vijiayaraghava' He was granted
5 "Vijayaraglity | 8 ) 1. [la Pras it, siz411 v is ni ila risi thi bra tel!nti || bhigatluga Kilaya vaina ily: sa' is gly :1. At t!! - en't of each Colphon in the work. villages, agraharas, palanquin studded with emeralds, elephants, with gold-covered tusks, chamaras, gold vessels, gold betel-nut box, pearl necklaces, gold and silver utensils, diamond-studded rings, and treasure-boxes with coins. Vijayarāghava constructed for him a palace with beautiful garden and fountains. Verse 34 clearly states, that Vijayarāghava and his consorts came to Kālayakavi's palace and enjoyed a sumptuous dinner. From this, we can judge the high esteem which Kālakavi enjoyed and the mutual respect that existed between the Telugu court poet and the king, in the times of the memorable Tanjore Nayaks.
The introduction gives a vivid description of the following:―
1. THE PALACE
The palace in which Kālakavi dedicated the work is “Vijayarāghavavilāsamu". This palace is mentioned in Raghunāthanāyakābhyudayamu. Vijayarāghava was seated on the throne, with a foot-rest made of gold. There were ladies attending upon him holding gold vessals, chowries, spittoons, betel-boxes and chamaras. The palace hall was decorated with beautiful pictures and figures. The victories won over the Pānḍya, Tunḍīra, Karņāța and Karahāța kings were painted there.
2. "ŚĀRADĀ DHVAJA"
In the hall, the outstanding feature is Śāradā Dhvaja or the literary banner. It was always adorning the court of Vijayarāghava. It always declared by its intermittent waving that Vijayarāghava was the only poet, who can produce poetry, combining the sweetness of Sugar. the fragrance of Jāti flower, the soothing effects of Malaya māruta, and the all-absorbing nature of the moon light (1--18) The banner also declared that a literate, who visited that court, must either be an original poet of rare genius or a scholar of out-standing merit, in grammar (Vyakarana), prosody (Chandas), and poetics (alankara 1--19).
3. DANCE AND MUSIC IN THE COURT
In the court there were ladies, who appeared, to be the Art of Bharata Natya, Sangīta and Sāhitya in feminine forms. The most prominent among were :-
CHANDRARĒKHA.
She was the greatest dancer of the Court and was formerly at the Court of Vira Venkataraya (Vira Venkatapathiraya 1584-1616 A. D.) who honoured her by bestowing on her many titles. As a mark of her proficiency in dancing, she was granted birudu vadyas i.e. musical instruments declaring the titles, and a retinue. She had the privilege of performing the first dance 1-22. She seems to have been the first mistress of Vijayarāghava Nāyaka. She might have probably left the Imperial Court after the death of Venkatapatiraya, in 1616 A. D. and entered Tanjore Court. As there is no reference to this lady, in the works of Raghunātha and his contemporaries, it is presumed that she was attached from the beginning to Vijayarāghava Nayaka, and began to make her appearance in Tanjore Court after the death of Raghunatha. She seems to be the most favourite of the King, and Kalakavi mentions her name at the end of each canto-
1st. Canto verse 129 "Muddu Chandrarekha Känta."
2nd. Canto verse 83 "Muddu Chandrarakha natha"
3rd. Canto verse 88 "Muddu Chandrarekha madana"
4th. Canto verso 83 “Sri Muddu Chandrarekha primastómábhirăma"
The other ladies who performed the various kinds of dances relating to Nütyagcyas are the following :-
Name of the Dancer.
Name of the Natya.
Chaupada. Sabda Chintamani Jakkiņi. Koravi. Navapada. Dēśi. Durupada. Pēraņi Rupavati. Champaka (valli) Morti. Komalavalli Lõkanēyika. Sasirekha. Ratnagiri. Bhagirathi.
Dances relating to Madana padas, Dutya and Navaratna were performed by other ladies. (1-23)
In Sangita, both the Marga and Daši styles were highly cultivated. Some ladies played on instruments like Veena, Kinnara, Mukha Veena, Pillangrovi, Tambura, Swaramandala, Ravanahasta, Udukka, Dande, Chengu and showed their dexterity in bandling them. Some other ladies, sang high class Desi or folk music, Dwipadas were sung, Yakshagana music was exhibited by some, while others with Talas sang, Jra, Savvāla, Dhavala. and Ela. (1-24).
In the Marga style, some ladies delicately brought out all the aspects of Gamaka, Sthayi, Raga and Prabandha. "Such is the exquisite beauty of the dances and perfect mastery of the art that even Vidyadharas, the born dancers from heaven wished to come down to the Court, and join with them in human form." Thus concludes Kalakavi. (1–26)
In the realm of Sahitya one lady is mentioned.
KRISHNAMĀMBA.
Krishnamāmba is such an adept in prosody, that she was able to compose in any vritta or metre selected in no less than 134217726 varieties. She was able to complete any given samasya (a pada of verse) both in Telugu and Sanskrit. She is the pupil of Kalakavi.-(1-27)
SĀHITYARÃYA PENDERAMU.
Vijayarāghava was wearing an anklet of gold styled as Sahityaraya pendara, which is an emblem of his victories, not only on his foes in the battle - field but his foes in literary battle-field. It represented his sway over the Tanjore Sāmrājya, as well as Sāhitya Sāmrājya (the realm of literature). Kālakavi describes this in no less than 6 verses-(72-78)
4. THE ANCESTRY OF VIJAYARAGHAVANAYAKA.
Verse 37-38. in the fourth caste, which is born from the lotus feet of Vishnu, sprung up a race of warrior kings.
39-40. In that race was born Krishna, to whom Timma became the son.
41. Timma was a great king and was known both for his valour and charity.
42. His wife is Bayyamba and to this couple, Chevva was born.
43. Chevva's Charities are many.
- (1) He constructed a Prakara and ſlight of steps to Sreesailam Temple.
- (2) In Vriddhachalam Temple, he constructed the Prasada and Mandapa.
- (3) In Arunachalam he constructed the Gopura.
- (4) In Góparvatamu he made arrangements for the daily worship.
Besides, he constructed many tanks, established gardens, and performed sixteen great gifts. the (Mahādānas.)
44. Chevva is known as China Chevva and his wife is Mūrtimamba. To them Atchutappa is born.
45. Atchuta is a great devotee of Sri-ranga. He constructed the eighth prakara and Gopuras for God Ranganātha. He gave a Simhasana (throne), a bed (Sayyi) made of gold, a Crown studded with precious stones, and an Abhayahasta. He has instituted many dance offerings during Chaitrarathärohanotsava (Spring chariot festival), constructed feeding house, and gardens. In the presence of Ranganatha, he donated many villages, and performed the Tulāpurusha mahädäna.
46-47. Describes the valour of Atchutappa Nayaka.
48. Atchuta's wife is Murtimamba, and to them Raghunatha is born.
49-54. Description of the valour of Raghunatha in defeating Pandya Tundīra and Parasikas.
55. He has written many works established agraharams and temples, and performed all the Danas.
56. Raghunatha's Queen is Kalärati
57-58. The great qualities of the Queen are described.
59. To Kalâvati and Raghunatha are born Atchuta Ramabhadra and Vijayaraghava.
60. Ramabhadra the eldest is a warrior.
61. He possessed a fine personality. He is a model prince.
62. His brother is Vijayaraghava of great fame.
62-71. The valour and regal qualities of Vijayaraghava are described.
72–78. Description of Sahityaraya Pendera already referred to 79. On the accession of Vijayaraghava to the throne in the year Srimukha, Sak: 1555 (1633 A.D.) he donated the sixteen great gifts.
80. His proverbial feeding of the Brahmins from the four quarters of India, Kasi in the north, Rameswaram in the South, Madhura in the east, and Dwaraka in the West, is described
81-86. Dedicatory verses or Shashủyantas.
87. Beginning of the story.
All the information contained herein regarding the ancestry and achievements are known from other sources. There are however two important things to be noted—(1) Vijayaraghavanayaka had an elder brother Atchuta Ramabhadra : 2 and that the coronation of the former took place in 1633 A. D. History is silent about Ramabhadra in connection with Atchutaramabhadra's accession.
The date of the work is therefore 1633 A.D, the first year of Vijayaraghava's accession and nothing is known about Kalakavi afterwards. No other work of the poet has come down to us and even this Rajagopala vilasamu was not known so widely as the works in lays of Righunatha.
The geneology given in this work is as under:
Kishna.
Timma. (Wife Bayyamba)
Chevva. (also known as China Chevva married Murtimamba)
Atchuta. (wife Murtimamba.)
Raghunatha. (wife Kalavati)
Anchuta Ramabhadra.
Vijayaraghava Nayaka. From Raghunāthanāyakabhyudayamu by Vijaya-raghavanayaka, it is known that Raghunatha had three sons:--(1) Atchuta (3) Atchuta Ramabhadra, and Vijayaraghavanayaka. But Kālakavi, who wrote the work in 1633 A. D. referred only to Atchuta Ramabhadra, and not to Atchuta, another son of Raghunatha. In two verses Kalakavi praises the valour and personality of the former.
Atchyuta might probably have been the eldest son of Raghunatha, as he bears Raghunātha's father's name and as such Vijayaraghava referred to him in his work Raghunathanāyakabhyudayamu. From the above it is presumed that Atchyuta, the first son was not living at the time of the composition of Rajagoōpalavilasamu and the second Atchuta Ramabhadra was living. According to Kalakavi, Atchyuta Ramabhadra being the elder brother should have succeeded Raghunātha, but it is the third son, Vijayaraghavanayaka, that succeeded Raghunatha as stated in all the works. The circumstances that led to the accession of Vijayaraghava are not clearly known, and it is presumed that Atchutarāmabhadra might have waived his claim for the throne in favour of Vijayaraghava for reasons not known to us. As there is no reference to any of the victories which Vijayarāghava has won, or to any of the literary compositions which he wrote, nor even to Rangājamma, the most accomplished lady of the court, the work is written undoubtedly in the first year of Vijayaraghava's accession to the Tanjore throne in 1633 A.D.
Vijayaraghavanāyaka, by his versatile literary compositions proved worthy of the Sāradā Dhwaja which adorned his pada. Like his father, he is both a poet and patron of poets and poetesses, and the following is a list of his works in Telugu.
DRAMAS OF YAKSHAGANA TYPE
1. Rājagopala vilasamu.
2. Chengamalavalli pariņayamu
3. Govardhanóddharaṇamu
4. Ratimanmatha vilasamu
5. Rāsakrīda navanīta choramu
6. Pārijatä paharanamu
7. Rukmini Kalyānamu
8. Radhūmadhavanu
9. Dhanabhiramamu
10. Satyabhāmāvivāhamu
11. Usbā parinayamu
12. Dakshina dwaraka sthalavarnanamu
13. Kaliyamardanamu
14. Raghunathabhyudayamu
15. Patanāharamamu
16. Prahlada charitra
17. Vipranarayına charitra
18. Samudra mathanami
19. Krishnil vilasamu
20. Mohini vilisamu
21. Jinakī Kalyananiu
22. Pruuņayakalahamu
23. Kamsa Vijayamu
DVIPADAS
24. Paduka sahasramu a translation of Sri Vedanta Desika's famous work.
25. Gópika Gītalu - Translations from Sri Bhagavatamu
26. Bhramara Gitalu. 27. Möhini vilasamu
28. Ragbunāthanāyakābhyudayamu (Chaupada and Ragada)
29. Phalgunotsavamu
DANDAKAMU
30. Rajagopala Dandakamu
Besides the above, he has written many musical compositions like Vinnapamulu, ĒJālu, Daruvulu and sankirtanas.
All the works are enumerated in No. 16, Prahlada Charitra, which is fortunately preserved. Among the above only 6 works have been preserved in the Tanjore Saraswati Mahal Library including Prahlada Charitra. They are 1. Raghunathābhyudayanu (Nataka) 2. Raghunatha niyaki bhyudayamu (Dwipada) 3. Vipranarayana Charitra, 4. Putanaharanamu, 5. Kaliya mardanamu, 6. Prahlada Charitra. Among these the first three have been recently publisbod; and the rest await publication.
Poets patronised by Vijayarighava.
Poet. Work 1. Chengalva Kalakavi Rajagopalarilasamu. (this publica- tiunt.) printed:
2. Koncti Dikshite Chandra --- Vijavaraghava Kalyanamu (Drama) not printed
3. Purushottama Dikshita Tanjapurannadana mahaniatakit (Drama) not printed.
4. Kamarasu Venkatapati Somayaje – Vijayaraghava Chandrika vilasamu not printed. -13 Poetess Works 1. Krishnaji 2. Rangajamma. Works not available. I. Mannaradasa vilasamu. Prabandha (Unprinted) 2. Mannarıdasa vilāsamı - Drima (Printed) 3. C'sha parinaya (Prabandha) 4. Ramayana Sangraha not printed 5. Bharata Sangraha: 6. Bhagavata Sangraha
MUSICIANS
The famous Telugu Musician Kshetrayya was honoured by Vijayaraghavanayaka, and padas with Vijayarāghava Mudra are now available.
CONTENTS OF THE WORK
The work as already stated is in 5 Cantos; and describes the greatness of Dakshina Dwaraka or Mannargudi. But the actual description of the Kshetra is given in the fifth canto. The other four cantos deal with the innumerable sports of Sri Krishna with the eight consorts or Ashta Mahishis. But Kalakavi struck a new path, in delineating Sringara-rasa, He treated the subject from a purely Alankarika point of view, by making them the Nāyikas of Rasabhava as under.
Ist Canto I. Rukmini ... Sweeya
2nd Canto 2. Bhadra ... Parakerya (Jarini)
3. Lakshana ... Vasakasajjikā
3rd Canto 4. Jambavati ... Vipralabdha
5. Mitravinda ... Khandita
6. Sudanta ... Virahotkanthita
4th Canto. 7. Kalindi. ... Proshita Bhartrika
8. Satyabhama. ... Swadhinapatika.
Bharati Vol. 27, No. 9, Page 291, Vijuparagbarapudamulu, Vidway T. Kouaudaramayga. From Canto 4, verse 50-79, begins the description of Dakshina Dwaraka.
Canto 5 relates the story, as to how Champakāranyakshētra came to be known as Dakshina Dwāraka:--
STORY OF CHAMPAKARANYA
In Champakavana, there lived a sage known as Vahnimukha. After the completion of Brahmacharya, he entered the Grihasthasrama. He had two sons, Gōpralaya and Gōbhila. Of them. Gōpralaya became an ardent devotee of Vishnu from the beginning.
Even while attending to his daily duties, he was highly devotional, and used to hear the stories of Vishnu very often. After some time, he relinquished all and took to austere penance. The fortitude, and the severity of the penance attracted Sri Maha Vishnu, who appeared before him. Gōpralaya's joy knew no bounds when God appeared before him. He prostrated at his feet and praised him in many ways. Sri Maha Vishnu was much pleased with his devotion and asked him his desires. Gōpralaya immediately requested him to stay in Champakavana is God Gōpāla for ever, as he lived at Dwaraka. Then Vishnu acceeded to his request and named Champaka Vana as Dakshina Dwaraka. Gōpralaya made Champaka vana, a second Dwāraka, by installing God Gōpāla in the Vimana, once used by well known Rishis like Mārkandēya, Mandavya, Maudgalya, Sanaka and Sananda. The Tīrtha is known as Krishna Tīrtha, and the water that flowed from it is known as Haridrā River. On the West, Gōbhila, his brother constructed a tank known as Vishnu pushkariņi.
STORY OE KING RAJASEKHARA OF GUJARAT
Sri Mahavishnu stayed there in the form of Gōpāla, and received Gōpralaya, and Gōbhila after some time in Vaikuntha. The story is found in Agnikalpa... Here Brahma performed penance, and Lakshmi by staying here long, won the hand of Vishnu by her devotion.-(1-22)
A story is then related describing the greatness of River Haridrā:--
In Saurastra (Gujarat) there lived a king known as Rājasśēkhara. Once he went out hunting (23-25). After hunting many a wild animal, the king became tired, and wanted food and water (36-37). Fortunately in an āsrama just in front of him, there lived a sage Yagniśeela, who gave food and water to the king. The King was highly pleased and returned to his capital. After some time, the sage wanted to know whether the king was really grateful to persons who helped him. He immediately took the form of a thief, entered tho treasury of King Rajasśēkhara at midnight, and stole away all the contents therein. While he was coming out of the fort with his heavy burden of stolen articles, the guards found him, tied him with ropes and placed him before the King the next day. The king recognised him as (37-41) the sage that saved him when he went out hunting. But he was so intoxicated with wealth and power that he forgot everything, and after scolding the sage ordered his servant to turn him out of the Capital as a brahmin should not be given capital punishment (41-44). Yagnaseela returned to his āsrama, and from that time the king became insane. He was deposed from the throne, and after wandering in the forest for some time, happened to go to the asrama of Yagnaseela (45-46).
The sage was moved on seeing the king in such a condition. He took him in, and explained to him that the disease was due to his ingratitude towards Brahmins, who alone could secure for him health, wealth, and prosperity (46-53.) He then took the king to the river Haridra, in this Kshetra, and asked him to bathe in the river. He said that this river was capable of effacing all the wins of the people who plunged in it (54-58.) Immediately after taking bath in conformity with the holy rites. he became a perfect man, as before. The king then performed all the sixteen Danas. He give a crore of precious stones to God, and vessels made of five metals. He became a great devotee of Vishnu and returned to his capital 58-61. The efficacy of Astaskhara, and Dwadasaskara are described 62-65. The canto ends with the usual invocatory verses at the end.
This is the origin of Dakshina Dwaraka or Mannargudi as given in Rajagōpālavilasamu. The tank at Mannargudi is still called Gōpralayam reminding is of Gopralayamuni in the work. The temple of Sri Rajagoplaswami was built by Kulotthunga-Chola (1070-1124). It is stated in the work "Inscriptions of the Madras Presidency" Vol. II. Page 1294 that the Temple was rebuilt by Vijayaraghavanayaka of Tanjore, giving reference to "Tanj Gazr. Vol. I. page 227." as under. But the supplement to Tanjore Gazetter Vol. I Page 239 appended to volume II. clearly states under Mannargudi - Page 277 - Paragraph 1, "The Nayak King who built the greater part of the Rājāgōpalaswāmi temple was Raghunātha Nayaka." From the works of Vijayaraghava and his contemporaries we know that Vijayaraghava was a great devotee of Rājagōpāla and is known as Mannarudāsa and works in various literary types relating to Vijayaraghava are styled as "Mannārudasa Vilasamulu″ Both father and son might have renovated the temple of Rajagopalaswami but the fact is not corroborated by literary or inscriptional evidence. The Mannargudi Kshetra must have been of sufficient antiquity as we hare still to identify King Rajaśēkhara of Gujerat, who first showed to the world the greatness of this shrine. It is stated in the work quoted above (Vol. II Page 294) that it was a Jain centre, and the ancient name of the place was Rājaraja Chaturvedi Mangalam. Perhaps it came to be known its Mannargudi from the time of Tanjore Nayakas who were great devotees of the Deity residing in this kshetra.
*[2] MANNĀRGUDI INSCRIPTIONS
The epigraphs of this ancient place are interesting; as they refer not only to the Cholas and Pāndyas but also to the Hoysalas. Tradition also connects the place with the latter who, it is said, had a palace here, the present hamlet of Mělavaśal being called after its western gate. The Jayaṅkoṇḍanātha and Rājarājēśvara shrines were founded by Rājādhirāja I (1018–53) and the Rājagōpāla temple by Kulōttuṅga Chōla I.
1. IN SAIVITE SHRINES.
506. 85 of 1897.-Grantha and Tamil.) In the front gopura of the Jayaṅkoṇḍanātha temple, left of entrance a record in the third year of the Hoysala King Vīra Rāmanāthadēva. Records gifts of land. [Vīra Rāmanātha was the younger brother of Narasimha III (1254-91) and son of Vīra Sōmesvara (1234-52) who was left in charge of the southern half of the Hoysala Empire.)
507. 86 of 1897.—(Grantha and Tamil.) On the south wall of the central shrine of the same temple. The name of the king is indistinct. Records gift of land.
508. 87 of 1897.-(Tamil.) On the north wall of the same shrine. A record in the eighth year of the Pandya king Ko-Māravarman Parākrama-Pāndyadēva. (Unidentified.) Records gift of land.
509. 88 of 1897.- (Tamil.) On the north wall of the mantapa in front of the same shrine. Records description of boundaries.
510. 89 of 1897.--(Tamil.) On the east wall of the same mantapa right of entrance. A record in the twelfth year. Provides for the payment of certain dues on arecanuts.
511. 90 of 1897.-(Tamil.) On the same wall, left of entrance. A record in the twelfth year of the Pandya king Kō-Jatāvarman alias Sundara-Pāndyadēva II (1276–90). Provides for the payment of certain dues on pepper and cloths. (See Ep. Ind., Vol. VI, p. 311, where Dr. Kielhorn discusses the date.) He opints out that the tithi is not quite right and arrives at the date Friday, 12th September 1287. As Diwan Bahadur Swamikannu Pillai has discovered another king of this name who came to the throne in 1270, the present king should be termed the third of his name and not the second.
512. 91 of 1897.-(Tamil.) On the south wall of the central shrine of the Anṇāmalainātha temple, An incomplete record in the twenty-second year of the Chōḷa king Tribhuvanachakravartin Rajēndra-Choladēva III, corresponding to Sunday, 8th may. A D. 1267. Ep. Ind., Vol. VII, p. 177. The temple is said to have been in Sārigai Kōṭṭai, a hamlet west of Rajadhirājachaturvēdimangalam.
513. 92 of 1897.—(Tamil.) On the same wall Records in the thirty-second year of a certain king a sale of land.
514. 93. 1897.-(Grantha and Tamil.) On the same wall. A record of the Chōḷa King Parakēsarivarman alias Rājēndra-Chōla (1011 --43). Records gift of land.
515. 94 of 1897.-(Tamil.) On the north wall of the same shrine. Records gift of land.
516. 95 of 1897.--(Tamil.) On the north wall of the maṇṭapa in front of the same shrine. A record in the the nineteenth year of the Pāṇḍya king Rājakésarivarman alias Vira-Pāṇḍyadeva. Resembles Nos. 510 and 511. [The combination of a Chōḷa title with Pāṇḍyan king is very anomalous. Was he the Koṅgu Pandya who ruled from 1265 to 1265? See Cb. 196 and 197.]
517.96 of 1897.—(Tamil) On the north wall of the central shrine of the Kailāsanāthasvāmin temple. A record in the twenty second year of the Chōḷa king Tribhuvanachakravartin Rājarājadēva. Records a private agreement. [Which is the Rājarajā referred to here?]
518. 97 of 1997.-(Tamil.) On the same wall. A record in the twenty-sixth year of the Hoysala king Vīra-Sōmēśvaradēva (the father Vīra Ramanātha and Narasimha llI, who conquered the Chōḷa country about 1252 and founded Vikramapura there). Records gift of land to an image of the goddess, set up by Mahāpradhanin Kampaya-Daṇḍanāyaka.
519. 98 of 1897.-(Tamil.) On the west and south walls of the same shrine. A record in the twenty-second year of the Chola king Tribhuvanachakravartin Rājarajadeva (III?). Records a private agreement.
520. 99 of 1897.---Tamil.) On the north wall of the same shrine. An incomplete record in the twenty-second year of the Chōḷa king Tribhuvanachakravartin Rājarajadeva (III?).
521. 100 of 1897.--Tamil.) On the south wall of the same shrine. A record of the Pāṇḍya king Kōē Māravarman Parākrama Pāṇḍyadeva the date of which is indistinct. Records gift of land.
522. 101. of 1897.- Tamil.) On the same wall. A record in the eighth year of the king whose name is doubtful. Records gift of land.
2. IN THE TEMPLE OF SRI RĀJAGŌPĀLASWAMI.
523. 102 of 1897.—(Tamil.) In the third gōpura in front of the Rājagōpāla Perumāḷ temple. A record in the twelfth year of Tribhuvanachakravartin Kōnērimēlkonḍan. Records gift of land. 524. 103 of 1897.-(Tamil.) On the north wall of the central shrine in the same temple. A damaged record in the forty-eighth year of the Chōḷa king Kō-Rājakēsarivarman alias Kolōttuṅga Chōḷadēva (I).
525. 10 1 of 1897, - (Tamil.) On the north, west and south walls of the same shrine A record in the twenty-second year of the Chōḷa king Tribhuvanachakravartin Rājarājadēva, Records a private agreement.
526. 105 of 1897.--Tamil.) On the west and south walls of the same shrine. A record in the twenty-first year of the Chōḷa king Tribhuvanachakravartin Rājēndra-Chōḷadēva (III). Records gift of land. The date corresponded to Wednesday, 30th June, A.D. 1266. Ep. Ind., Vvl. VII, pp. 176-7.
527. 106 of 1897.-(Tamil.) On the south wall of the second prākāra of the same temple. Records gift of land.
528. 107 of 1897.-(Tamil) On the west wall of the same prākāra. A fragmentary record in S. 1499, expired.
529. 108 of 1897.-( Tamil) On the north wall of the same prākāra. Mention Achyutappa-Nāyaka; a fragmentary record.
530. 109 of 189:-(Tamil) in the cellar of the same temple. A record of the Pāṇḍya king Tribbuvanachakravartin Sundara Pāṇḍyadēva unidentified) "who took every country." Records gift of land.
It is clear from these records that the place was called Rajadhiraja Chaturvedimangalam in Chola days and came to be called Mannargudi in the days of the Nayaks.
THE SANSKRIT ORIGINAL
. Though Kālakavi states in verse of 5th Canto that the story of Dakshina Dwaraka is related in Agni kalpa, yet the same is found in Brahmanda purāṇa under the name of "Champakaranyakshetra māhatmya" Copies of the work are available both in Tanjore palace Library and the Govt. Oriental Manuscripts Library, Madras: and from a perusal of the contents of the Sanskrit work with the printed Telugu Text, it is evident that this particular work might have formed the basis of the story enumerated by Kalakavi in the 5th Canto of the work. As the Sanskrit work is not well known up till now, and not available in print, it is given as an appendix to the work both in Telugu and Devanagari Scripts for the benefit of Telugu as well as non-Telugu Research Scholars.
GENERAL ESTIMATE OF THE WORK.
The work contains (1-129, 2-84, 3-88, 1-83, 5-76). 451 verses with only four prose passages. Kalakavi is a poet of rare merit, and his handling of vrittas is almost unequalled. The style of the work is free from long Sanskrit compounds and the melliflous flow of the verses enchants the reader. It is certainly one of the best prabandhas in the Southern School of Telugu literature, and its merits were not known since it was not available to scholars in print.
Another important feature of the work is that it is free from the descriptions of an amorous nature bordering on obscenity; with which the Prabandhas of this School are often charged. The conversations are natural and the poet does not employ poetic conceits for the effects. This reminds us of the beautiful pen pictures of situations in the Famous Amarušataka in Sanskrit.
It is indeed a matter of sincere gratification that this work is now brought out by the Saraswati Mahal Library under the Madras Government Oriental Series. It remains for me now to thank firstly the Madras University authorities for permitting me to introduce this work into the literary world, and secondly Sri S. Gopalan, Secretary of the library for his keen interest in the publication of the work. Lastly I have to make mention of my son Pandit N. S. Sundareswara Rao for having gone through the proofs.
Madras. V. VENKATA RAO, Head of the Department of Telugu, University of Madras. 7-7-1951.
- ↑ 2 Late J. Ramayya Pantulu, B.A., B.L., The Southern School of Telugu Literature. Journal of the Andhra Historical Research Society, Vol. 1, No. 384, page 169–177 (English)
- ↑ 1. I am indebted to Sangita Kalāsikhamani Srı K Vasudeva Sastry garu of the Tanjore Palace Library for kindly bringing these to my notice.