CHAPTER SEVEN

VEDANTA VIEWS IN THE NAISADHA-CARITA4

Vedanta is one of the orthodox systems, of the Indian philosophy

and among the systems, it is the most popular one. Vedanta means the

Upanisad, the last portion of the Vedas. 1 The Vedanta system is

propounded by sage Badarayapa. He composed the Vedanta Sutras also✓

known as Brahma Sutras or Sariraka-Sutras. Vedanta system has other/ „

different sub-schools like Advaita Vedanta of Sahkaracarya, Visistadvita of/•

Ramanujacarya, Dvaita-Vedanta of Madhvacarya, Suddhadvaita of

Vallavacarya etc.

The main topic of discussion of Vedanta philosophy is Brahman.

It is clearly stated in the first sutra of the Brahma Sutra. According to the

Vedanta philosophy, Brahman is the only reality or truth and the world iso «■*

false. Brahma and individual self (jivatma) are not admitted as different

from each other.4 Several vedantic theories are found reflected in the

Naisadha-carita. Being a sincere and staunch supporter of the Advaita

Vedanta, poet Sriharsa embellishes his literary theme with some Vedantic

tenets. In this philosophy, Maya or Cosmic Illusion plays a prominent role

in the Naisadha-carita, the vedantic views are reflected. King Nala, the

hero of this present epic, has been very often fancied as Brahman. In

addition to Brahman, other tenets of the Vedanta system are atma, jiva,

jagat, avidya and may a etc. Princess Damayanti has also been assumed to

be the Upanisad. Poet Sriharsa has endeavoured to present the non-

dualistic views in all their brilliance. Various features of the philosophical

concepts echoed in the present epic are Non-dualistic trend, Subtle Body,

Dream and Dreamless sleep, Brahman or Supreme Self, means to attain

Brahman, Self-realization and Liberation-in-life. Now these topics of

philosophical thought are explained below :

Brahman is regarded as the Supreme Self, while • Jiva is the

individual Self. Since jiva is the reflection of Brahman, there is no

difference construed between Brahman and Jiva. In Vedanta philosophy,

Brahman is non-qualified Supreme Reality. Brahman is one and non dual.5

All what is direct and not indirect is Brahman.6 Brahman is truth,

knowledge and infinite. Beyond the confines of speech and mind is

Brahman. Brahman is consciousness and bliss. Brahman is omniscient,

perpetually pure, knowledge, eternal, all-pervading, free from all bondage,

ever-satiated, consciousness. 10 The world’s creator, sustainer and

destroyer is Brahman.n Brahman is the Supreme Bliss which is the source

of all beings. Brahman is the Absolute Self purely consciousness and self-

1 7illuminating. In this way, Brahman is the Upanisadic Supreme Being.

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In the Naisadh-acarita, several references to the Vedantic

Brahman are found. In the verse of the epic, it is depicted that the bird, i.e.

the golden swan, experiences bliss that is beyond the range of words, after

being freed from Nala, the Lord of earth and the best among men. 14

In this verse, two words bear the literary pun, i.e. ‘dvija’ and

‘purusottama’. ‘Dvija’ means ‘bird’, since bird is twice bom. Besides, it

implies Brahmin who becomes ‘dvija’ after holding the sacred thread. By

the grace of Visnu (purusottama, the Supreme Self), a Brahmin attains

freedom from the mundane bonds in this world. Realizing proper

knowledge to get rid of worldly bondage, he attains the self-luminous

Brahman who is incomprehensible by words. The word ‘apV in the said

verse, suggests Brahman as incomprehensible even by mind and as

Supreme Bliss. In this regard, Narayana cites the quotation from the

Upanisadic view and explains that according to the Vedanta philosophy,

through knowledge, emancipation can be achieved. Mallinatha also

refers to the Upanisadic view regarding the blissfulness of Brahman} 6

In another verse of the present epic, a similar view of Brahman

is found. The verse contains the speech of the golden swan, addressed to

Damayanti. The swan states that princess Damayanti would attain the

object which only exists on the path of her mind. She keeps secret her

ambition to accept Nala as her husband. The swan convinces her that the

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former (swan) is able to know the object of her mind, though she keeps it

secret. Mind itself is said to be in darkness about the Absolute Brahman

and the careful seers of subtlety attain the self-luminous Supreme Being. 17

Narayana explains the monistic canon and quotes the Upanisadici o

view in regard to Brahman that is not comprehensible by mind.

Therefore, through the subtle-seers, the Brahman which is self-shining and

beyond the range of mind is attainable. In the above verse, the non-

dualistic Supreme-Self is indicated by the word ‘taf.

In the Naisadha-carita, king Nala is very often compared with

the Absolute Brahman of Advaita Vedanta. In a verse of the epic, it is

stated that gods headed by Indra behold the supreme beauty of Nala. Nala

is regarded as the unique monism of beauty- incarnate by the gods.

Glancing at Nala, their hearts uncontrolled by them surrender to

amazement19

In another verse, Supreme Bliss is referred to when Damayanti

expresses her firm devotion to king Nala and declines the solicitation of

the four gods, the disguised messenger rejoices and beholds her with an

explicit joy in her eyes. When he firstly sees the tip of a hair on her body,

he experiences the gaiety of union with one and Absolute Brahman. So,

he experiences eternal bliss. When he looks at her entire body, he likewise

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enjoys the pleasure of being immersed in One Cupid. The joy of Cupid is

assumed as Advaita or non-dual.20

Different commentators give different views in this regard.

Narayana gives his explanation that while glancing at the entire beautiful

body, the non-dual bliss of Cupid supersedes the non-dual bliss of

Vedantic Brahman and it is relevant here.21 According to Mallinatha,

though Bliss is not different from Absolute Brahman, yet its differentiation

evinced here is but formal.22

A description of monistic doctrine has been made in another

verse of this epic. The speech of Damayanti is described as a mystic

Upanisad which reveals the non-duality (of love-god). The media of

manifesting the Monism is the cuckoo - like Brahmin (dvija). It is

surmised whether the cuckoo bird living on alms from trees learns that

'J'Xdoctrine from her moon-like face.

The tone of the princess excels that of the cuckoo-bird is

suggested here. The word ‘dvijaraja’ implies ‘moon’ as well as ‘great

B r a h m in Here philosophical aspect is also maintained. A Brahmin lives

on alms and practices from a wise Brahmin the study of monistic notion

propounded in the Upanisad.

In another verse of the epic, the poet describes an experience of

sublime joy as to Brahman. Damayanti looks at every limb of Nala. Her

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eyes immerse in them with extreme zealousness. Some of the limbs are

well-seen and some are seen imperfectly. Yet she experiences an equal

measure of joy without being aware of the difference between the two.24

Here poet Srlharsa displays an experience of transcendental

sphere. The princess knows no difference between the limbs, well-seen

and unseen. Damayantl attains identical joy in both the seen and unseen

limbs of Nala, for both the limbs are equally related to Nala.

The Self-luminosity of Supreme Being is referred to in another

verse of the Naisadha-carita. The verse represents the royal

embellishment of kings in the svayamvara of Damayanti. They have

adorned their heads with jewels in vain; for their heads themselves are

called glorious jewels. The poet exemplifies that knowledge of Absolute

Brahman is self-illuminating, so it does not require any other knowledge to* \C

illuminate itself.

The poet very clearly refers to the self-luminous knowledge

adopted by the Vedanta as well as by the Prabhakara Mimamsakas. When

some one attains the knowledge of Brahman, all other knowledge go in

vain. According to Mallinatha, Brahman - knowledge being self-

illuminating does not rely on any other knowledge such as ‘anuvyavasaya’

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Another verse of the epic exhibits eulogy to God rendered by

Nala. Devoid of pride, Nala praises God Visnu as non-qualified Brahman.

The praise to Brahman is verily not an object of speech or expression.

Brahman is indescribable. So the noble king discards his entire ego and

asserts that the praise made by man like Nala is only a censure to the

Lord.27

In the next verse of the epic, Nala worships Visnu as Self-

effulgent Brahman. Nala regards himself as ‘jada’ (deluded one),

pervaded with inertia or nescience; because his aspiration for praising the

Self-illuminating Brahman is just like the aspiration of darkness forr% ft

illuminating the radiance of the Sun.

In the Vedanta philosophy, Brahman is described as Self-

luminous. He is like Sun independent of external light. Therefore, king

Nala consigns to Brahman as the former is said to be deluded with Avidya.

In the same context, in a verse, Brahman is referred to Brahman

is described as Supreme Being transcending the confines of speech and

mind. Yet the mind and speech ought to direct themselves to Brahman.

The poet illustrates that clouds gratify the anxious Cataka couple, though it

does not reach the clouds.

In another verse, Visnu is praised as Brahman. He is the source

of four highest achievements viz., virtue, wealth, desire and salvation. The

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river Ganga, whose water is the source of virtue flows in his feet which is

the first religious merit. On his bosom, Goddess Laksmi rests, who is the

force of wealth. Cupid (Kama) is his offspring. Visnu himself is the

Absolute Being rendering ultimate freedom from worldly bonds.30

Here, Brahman is depicted as the giver of Absolute release, i.e.

the principal and fourth end-in-view of life. The essence of the Vedantic

liberation lies in the knowledge of Supreme Self, which is the only direct

means to final freedom from the mundane affairs. The scripture is stated

that one is released from all bondage after knowing the divine Absolute11

Brahman.

In a verse of the Naisadha-carita, an allusion to the Vedantic

philosophy is found when God has been worshipped by king Nala as the

incarnate Parasurama. In this verse, Nala addressed God.

The aims of God Parasurama are extolled. The Kshatriya race is

said to have emerged from the arms of God while he created the universe

in primordial times. It is described to be befitting that the very arms of

God account for the destruction of the Kshatriya class.32

Parasurama is delineated as God-incamate. He is said to have

slain all the Ksatriya progeny by his axe in revenge, as Kartavirya, a

Ksatriya king had killed sage Jamadagni, the father of Parasurama. So in

the arms of Parasurama, the Ksatriya race has been dissolved. The

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dissolution of an effect in its cause is suggested to be significant. Here

poet Srlharsa adverts to the Purusasukta of the Rgveda concerning creation

of the world. Universe is created from the Great Being. The four races,

viz. Brahmana, Ksatriya, Vaisya and Sudra .are bom respectively from theo n

mouth, the arms, the thighs and the feet - all of the Great Being. God is

depicted as the creator of the universe in the present verse of the epic.

Regarding the creation of the world, an allusion to the Supreme

Being is found in another verse of the epic. This verse is also Nala’s

speech addressed to God. Here God is regarded as the creator of universe.

Universe is the form of God. Nala has stated very clearly about his

inability to comprehend in his tiny heart, the eulogy of God’s powers. It is

exemplified how much gold a poor man ties in his rays, when he obtains

the Mount of Gold.34 It may not be irrelevant to state that in adopting the

theistic concept, the Nyaya system agrees with the Vedanta system. In

Vedanta, God is the controller of all. He is the dispenser of creation,

sustenance and destmction of the Universe./ _

Poet Sriharsa establishes the non-dualistic notion of Supreme

Brahman in his Khandana-khanda-khadya. In the introductory verse,the

poet offers salutation to the Upanisadic Brahman purmingly portrayed as

God Siva. The poet refers to the Naisadha-carita while describing

Brahman as Supreme Being.36 In the present epic, the poet has devoted a

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whole chapter, i.e. Canto XXI, where king Nala worships the Almighty

God. The poet, as a vedantist, describes God as the Self-luminous

Brahman and speaks of liberation which consists in the realisation of that

Upanisadic Supreme Self.

In the Vedanta philosophy, Maya occupies a very important

place. The monistic theory of Vedanta believes that the world is illusory

and Brahman is the sole reality. The illusory appearance of Universe is due

to unreal superimposition of Maya. Maya is known as Avidya (nescience),✓

Ajndna (ignorance), Prakrti (primordial matter) and Sakti (power). Maya is

the magical power of Brahman and Brahman is the magician. Maya is the

creative principle of the world and all world is permeated by Brahman.

According to the Vedanta system, the world of diversity of

forms and names is conceived as illusory because of the nescience with its

dual function i.e. concealment (avarana) of reality and projection (viksepa)

of something else. World is the form of Brahman. But by nescience, the

real nature of world is concealed and it is distorted with manifold

projection. So, Maya causes the world of diversity by the unreal

superimposition. Maya is the root-cause of world-process and is sublated

by the knowledge of reality. Maya is neither existent, nor non-existent nor

the combination of existence and non-existence. Therefore, it is wonderful

and inexpressible illusion. According to Mandana, Avidya is neither the

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nature of Brahman nor otherwise. It is neither absolutely existent nor non­

existent. So, Avidya is called Mays, false knowledge.37 Vacaspati Misra

explains that Maya is the power indescribable either by reality or by any•10

means. According to the Vedanta doctrine, universe is the illusory

modification of Brahman. Just as a snake is superimposed on a rope, a

nacre on silver, or a man on a pillar, the world of diversity is superimposed

on Brahman. The whole world is illusory just like the city of Gandharvas.

In the Naisadha-earita, several references to the conception of

illusion are found. In a verse, king Nala is said to have worshipped God

Visnu as Brahman. This verse is Nala’s speech addressed to God. The

power of Brahman is Maya. At first, the world with all beings resorts to

Maya, the power-creeper of Absolute Brahman. After creation, the world

also rests on the head of the serpent- king Ananta. At the time of

destruction, the universe lies back in the stomach of Visnu disguised as a

child. Whatever may be the foundation of the universe, Brahman in every

manner is the support of the world.39 In the present verse, it is implied that

creation, sustenance and destruction of the world find their sole basis on

the Supreme Being i.e. Brahman. A curious collaboration of the

Vaisnavism and the Vedantic doctrine is found here; for, Visnu has been

depicted as Brahman.

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In the Naisadha-carita, poet Sriharsa describes the illusory

appearance in another verse of the same. After having the power given by

the four gods, Nala entered into the inner apartment of Damayanti and he

observes the princess in every direction. She is seen by Nala, though she

is not present before his eyes. The poet declares that Damayanti has been

experienced by Nala in the chain of countless creation or in the previous

births. The portraits of Damayanti are the evidence of the experience. It is

also stated that by the magical power of Cupid, she has been created, who

✓ 40is the conqueror of demon Sambara.

Despite her absence, Damayanti seems to be present, as Nala

sees her everywhere. Here, it is said that Nala has experienced Damayanti

in previous births. It is also suggested that although she is not active in the

portrait, she is seen by Nala with her various gestures of love. In this

respect, Cupid’s magical power has been mentioned. Though she is

unseen or inexperienced in the past, she now remains as craftsmanship of

the love - god. In every direction, Nala sees her owing to his separation of

love. She is recollected by him because of previous experiences.

A similar view of illusion is reflected in the next verse.

Overwhelmed with delusion, Nala sees illusory Damayanti in her inner

chamber. Though, he beholds other divine damsels along with illusory

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Damayanti, yet those very damsels to be Damayanti. It is due to

Damayanti’s illusion by which her false figures have appeared.41

In the present verse also, Nala sees illusory Damayanti. The

other maidens standing nearby to the princess seem very inferior.

According to Narayana, the illusion apropos of Damayanti is not ascribed

to other damsels, for the cause of similar illusion is not present in this

case.42

The next verse also speaks of illusion. Though Nala’s heart is

completely indifferent towards Damayanti, rendering messengership of the

four gods, he becomes overwhelmed with pangs of separation caused by

the love-god. Out of passion and delusion he sees the illusory princess and

after a moment, when delusion passes away, he becomes conscious. He

sees on Damayanti and feels distressed.43

Illusion is reflected in another verse of the epic again. In harem,

after paying tribute to her mother, on the way Damayanti comes across

Nala. But Nala, amongst several illusory appearances of Damayanti seen

by him, cannot distinguish Damayanti. Because of his invisibility,

Damayanti also does not see Nala.44 Here it is suggested that Nala is very

much engrossed in illusion. Among her other illusory appearances, he

cannot recognize the real princess.

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In another verse, an allusion to illusion is found. Whet

Damayanti throws a garland on the neck of illusory Nala, it really goes li­

the real one. He is surprised that the garland is real. Nala regards it as l

favour from his beloved princess to whom he has been seeing in the chain

of his thoughts. Even Damayanti also becomes shock to see that the

garland thrown by her has disappeared.4'̂

The next verse also reflects illusion. Though Nala and

Damayanti are present in the same place, they look each other as if they

were at different places. They actually embrace each other among the

embraces of their illusory selves.46 Narayana says that though Nala and

Damayanti embrace actually, yet it seems unreal because of illusion.1

In another verse, it is stated that as they are deluded win

illusion, they both, Nala and Damayanti are unable to believe in truth. 11

the inner apartment, they start to touch each other, with the idea of touches

being real, because of immense exhilaration aroused by a real touch. Bit

encountering a check on account of the falsity of subsequent touches, the

two become deluded and cannot confide in the actual touches done by eaca

other.48

In the same context, illusion is found in another verse of the

epic. Both Nala and Damayanti’s vision is not interrupted, since t

corresponds to their real selves in every respect. The illusion seems to be

extremely life-like. With the richness of their beauty, they both are

immensely charming. Therefore, they cannot abstain from the gaiety of

play, though they discover each other to be unreal being affected by

illusion.49 Commenting on the said verse, Candupandita explains that when

first knowledge is sublated by the subsequent knowledge, reality is

dubious. So reality in the present case is also surmised to be false because

of the delusion of love.50

In another verse, it is stated that though Damayanti is extremely

modest and well disciplined, yet being maddened with love, she cannot

observe reticence. In her mind, she is always thinking of Nala. Even in the

presence of real Nala, she is not able to distinguish actual Nala among his

illusory selves seen by her. She cannot stop herself talking to Nala.

Thinking Nala to be unreal, she starts to converse with him because she/ -

cannot recognize real Nala. Here poet Srihar§a gives the remark that one

overwhelmed with delusion cannot properly conceive the distinctionc 1

between reality and falsity.

Another verse gives a hint to illusion. Goddess Sarasvati

introduces Varuna before Damayanti, in the svayamvara. The speech of

the goddess incurs a double implication for both Nala and Varuna. The

ambiguous statement made by the goddess heightens the array of creepers

of Damayanti’s doubts about many Nalas. But it is striking that the speech

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likewise enhances doubts as regards DamayantI in the minds of Nala and

Varuna as well.

Including the Vedanta system, in various philosophical systems,/

the double moon which is familiar with illusion is illustrated. Sankara

explains that a jaundiced eye sees several moons. Double moon is a false

notion adopted in common experience. According to Vidyaranya, the

illusory concept of double moon is brought about by pressing the eye with

a finger.53Such illustrations are traced out in a few verses of the Naisadha-

carita.

With a keen propensity, DamayantI glances at each of the five

Nalas at the svayamvara stage. But she finds no difference among the

five. Her mind becomes frenzy and it incurs a hundred doubts as the five

Nalas who bear semblance with one another Later no doubts are removed

from her mind. In this context, the concerned verse is the speech of

Damayanti.

She says that certain illusory notion prevails among the people

that there are two moons. But that erroneous concept has a cause, firstly

pressing the comers of eyes, while close proximity of transparent objects

also accounts for the notion of unreal image. But she finds no reason for

her illusion about the five Nalas.54

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In another verse, appearance of double moon is depicted as

illusory. Here Damayanti’s ear-rings decoration is described. Damayanti

adorns her ears with two jewel ear-rings. Her moon-like face seems to

have conquered those moon-shaped ear-rings, out of jealousy and have

fastened them with the creeper - like ears. But it is not scrutinized whether

the charge of jealousy is true or false.55 Here it is suggested that illusion

arises there, where lacks the discriminative power. Verily, the notion of

double moon is false.

In another verse of the Naisadha-carita, illusory appearance of

double moon is referred. It is described that the moon is subdued by face

of the princess. Therefore, the moon assumes a magic form and becomes

visible to those people who have a notion of beholding double moon in the

sky. But still, the moon is defeated by Damayanti’s face, assuming a

diversity of forms in mirrors simultaneously shown by her two maiden-

friends.56 If someone presses the eye-comer and looks at the moon, two

moons are seen by his eye. Again, when someone places, aiming at the

moon, a mirror in his hand, there appear two moons, one in the sky and the

other in the mirror. Therefore, reflection causes the illusory figures. In the

present case, single moon is conjectured to have assumed various illusory

forms, as it feels subdued by the moon-like face of the princess. The poet

also refers to the illusory double moon in his philosophical treatise.57

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Another verse of this epic, earns much importance with regard to

illusion. The speech of Sarasvati with several implications corresponds to

Agni, Varuna, Indra, Yama and Nala as well in the svayamvara stage of

Damayanti. Because the four gods pretend the forms of Nala, so it

becomes very difficult for the princess to recognize the real Nala. To hear

the ambiguous speech of goddess Sarasvati, Damayanti becomes

nonplussed. In this concern, the present epic’s author explains Vedantic

monism contrasted with other systems of Indian philosophy.

Damayanti does not put faith in the fifth alternative, i.e. real

Nala, though he is more genuine than the rest four pseudo-Nalas. These

four are desirous of winning her and have prevented her from acquiring

such a confidence in the real Nala. The poet exemplifies that in the

presence of diversity of doctrines, people do not believe in the truth of

monism, the fifth category, though truer than other four doctrines. These

four try to win the faith of the people and preclude them from putting such

a faith in monism.58

According to the Vedanta philosophy, Brahman is the only

reality and the objective world exists only in appearance. Therefore, the

diversity of mundane phenomena is utterly repugnant to the Vedantic

monism. Most of the Upanisads declare that all universe is Brahman and

for duality, there is no room. The manifoldness of name and form is the

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manifestation of Supreme Brahman.59 Therefore, it is said that diversity is

only a name based on words and has no reality of its own, just as pot is the

modificational form of clay which is alone real.60

If God is the magician, Maya is said to be the primal cause. In /

the Brahma-sutra of Sankara, he clearly explains the oneness of Brahman

rejecting the plurality of the universe differentiated by form and name. He

says that because of the power of Brahman, all the appearance of diversity

perceptible in the universe. In the worldly phenomena, five features are

observed, they are - knowledge, existence, bliss, name and form. First

three are the nature of Brahman, while the last two are the nature of world

i.e. name and form. According to Sankara, world is illusory and is

superimposed on Brahman, just as blueness is superimposed on sky, water

on desert, man on branchless tree, city of Gandharvas on void and double

moon on the sky. Just as a snake is mistaken for rope, the world is

mistaken for Brahman owing to illusion.

In the Naisadha-carita, a few references are found to the

monistic view of the Vedanta as well as to the denial of diversity of the

world. One verse of the Naisadha-carita speaks of both the Vedanta and

Mimamsa concepts. Here the Vedantic view is now explained.

The four gods utter a benedictive statement for Nala, when he

agrees to convey the message of them to Damayanti. In this context, the

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second half of the concerned verse establishes the monistic principle and

rejects plurality of the world. It is stated, “Nala’s fame may sanctify the

three worlds (with the canon of pure non-duality) and annihilate the

relation of objects with the terms ‘black’, ‘yellow’, ‘red’ and ‘green’ by

proclaiming ‘white’ as the only colour in the world.”

Another verse of this epic reflects the Vedantic doctrine of

Brahman. Mimamsa is divided into two parts -viz. Purva-Mimdmsa or

Karmakanda and Uttara-Mimamsa or Jhanakanda. The KarmaMndai l * * * *

deals with rituals while Vedanta forming Jnanakanda treats of

metaphysical aspect of Brahman. The concerned verse maintains:

“In accordance with the Vedic divisions, metaphysical and ritual,

the Mimamsa by its two aspects forms Sarasvati’s fleshy thighs gracious

with marvelous costume.” 63 Here both the thighs of goddess Sarasvati are

fancied to be formed by the Vedanta Mimamsa systems.

Another verse speaks of Vedantic doctrines with the rejection of

all other phenomena except Brahman. The verse speaks of Damayanti’s

svayamvara, where she rejects all gods and kings present in the

svayamvara stage and chooses Nala as her husband. The verse, in a

literary sense, describes Damayanti’s attitude towards Nala, the gods and

other kings present in the svayamvara assembly. Damayanti meets all

these kings and gods who are fortunate, innumerable, hopeful in heart and

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unequalled in merit, but she rejects all of them. But this princess with fair-

limbed is always think of only one man, who is Nala. Nala is portrayed as

an ocean of knowledge, as a man whose beauty transcends the range of

speech and as an infinite joy. Entirely devoted to him, Damayanti

resembles the Upanisad.64

The word used in the present verse has philosophical

importance. The Upanisad too is sound and contains hidden thoughts. At

the same time, it rejects air, watery objects, earthly objects and light

accompanied by ‘sky’ including time, directions and mind as well as all

diverse qualities. It devotes itself to the One Being, i.e. Brahman, who is

an ocean of consciousness, whose form is beyond the confines of speech

and is perpetual bliss. Here Damayanti’s devotion to Nala is compared

with the devotion of the Upanisad, while Nala is described as Absolute

Brahman. The monism of Vedanta is described here by eradicating the

substances and qualities enumerated in the Nyaya-Vaisesika system.

The Vedanta system eradicated the world of name and form.

One and non-dual Supreme Self is established and the diversity of the

world is rejected by negative application on objects.65

In another verse of the epic, diversity of objects supported by the

logicians is repudiated by the Advaita Vedanta. Here a combination of

Vaisnava and the Vedantic doctrines is depicted. Visnu as Supreme

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Brahman has been worshipped by Nala. In this context, it is stated that

mundane object cannot be the source of diversity; for manifold

contradictions and antitheses based on reasoning are against this

conception. With the assistance of Maya, it is the will of Brahman that the

world has apparent diversity and that is the purport of the reality.66

/ -

Here, it may be noted that Sriharsa in his Khandana-Khanda-

Khadya logically refates the duality of world. He said that duality cannot

be proved either by inference or by perception. He adds that imposition

(arthapatti) forming the arrayed infantry regiment serves and strengthens

the great army of monistic testimony by properly overthrowing the troops

of opposition. So duality loses its ground in every respect. Expressing

such views, he shows his attraction towards literary embellishments even

in his philosophical treatise. He also gives the opinion that, the empirical

validity of diversity cannot sublate the ultimate reality of the Vedantic

monism; for, the two have different levels. As a staunch Vedantist, / _Sriharsa establishes the monistic tenet of Supreme Being in his both the

masterpieces of philosophy and literature.

In the Vedanta philosophy, the concept of subtle body (suksma

sarira) takes an important place. The subtle body consists eight cities, viz.

five organs of action such as speech etc., five vital breaths, five organs of

knowledge such as ear etc, five elements such as ether etc., along with

171

intellect and also nescience, desire and action. The subtle body is also

known as ‘Linga-sarlra’. It is the product of elements before their sub­

division and combination with each other. The subtle body is the cause for

the soul to experience the fruits of its previous deeds. It is a beginningless

superimposition on the soul occasioned by its own ignorance.

When the soul departs, the vital force follows; when the vital

force departs, all the organs follow. Such is the Upanisadic view.67

Inclined to action, man reaches the consequence to which his subtle body

or mind is attached. The man, who does not desire, never migrates. In the

case of a man who has no desire, the objects of desire are but the Self, his

organs do not depart. Being sole Brahman, he remains merged in

Brahman. Therefore, it is stated that as long as the soul does not depart

from the body, the mind and the five breaths also do not depart. Every

organ of a person’s body becomes united with the subtle body of a dying

person./ _

The poet, Sriharsa, also gives the reference to subtle body and

death in his Naisadha-carita. When Nala, the disguised messenger of four

Gods, discourages Damayanti regarding her love and devotion towards

King Nala, she becomes overpowered with grief and wants to die. The

verse shows the lamentation caused by separation from her beloved King

Nala.

172

Damayanti mourns that at the time of separation from her

beloved king, even a moment seems to be many ages. She is unable to

bear the mental and physical distresses, but yet death does not come to her.

For, her beloved never forsakes her inner being, her mind does not

renounce him and the life-breaths do no abdicate the mind.68 Such is the

crucial state of Damayanti. In the present verse, King Nala is fancied as

her Self, i.e. Brahman. Here absence of her death is construed with a

philosophical depiction of subtle body.

It may be contended that Damayanti’s beloved resides in her

inner sense-organ and so she does not forsake her Self. Internal sense also

does not give up her beloved. As she has ardent longing for Nala,

separation for even a moment is intolerable to her. Thus in a verse the

author of the present epic has made a precise assessment on the subtle

body.

In the Vedanta system, dream (svapna) and dreamless sleep

(susupti) form a place of philosophical discussion. Dream is distinct from

the working state. In dream, intellect (buddhi), supported by the inner

sense-organ mind, plays the role of agent and due to manifold latent

impressions of the waking state. In svapna, Supreme soul shines in its own

glory, with intellect as its only superimposition; Supreme soul is the

witness of all. It is not touched by the least deed that intellect performs.

173

The dream state is a state of immediate psychosis of the internal sense-

organ.69 Dream or svapna takes place by some particular contact between

soul and mind, and also by impression. The knowledge of dream is unreal.

The dream-state and the swpra-dream state are occasioned by Adrsta, i.e.

merit and demerit.70 It is maintained that from three factors dream arises.

These are acuteness of impression, defect of bodily humours and Adrsta

(merit and demerit) .71 In the dream caused by Adrsta, man perceives the

object not seen beforehand. Therefore, in the dream state, future events are

also experienced.

In the sleeping state, human body becomes relaxed and all senses

remain bereft of their functions. It is said that sense organs are the gate­

ways to mind. When their activities are suspended, the inner sense-organ,

i.e. mind, does not function as a means of knowledge. But the fact is that in

the state of dream also, one does his works like in the waking state. So, it

may be said that the subtle existence of man, and not the senses, accounts

for knowledge and experience of a person in the dream state.

When someone remains merged in deep sleep, he becomes

entirely oblivious of all his adjacent circumstances. Although at that time

his heart beating, breath, blood-circulation etc. functions well, yet from the

external world, his consciousness remains completely detached at that

time. At that time, his mind moves in its own world and sees different

174

kinds of dream. The objects seen in dream seem to be real in sleep but

after wake, nothing of them happens to be real. In dream, all the objects of

past experiences have been seen by the mind. But those experiences, at the

time of sleep, becomes manifest as dream. Therefore, it is stated that in the

state of dream, the unseen future events also can be seen, and the existence

of Self is regarded as the perceiver of dream.

In the Naisadha carita, poet Sriharsa hints to dream and

dreamless state. In a verse, Damayanti’s keen inclination to King Nala is

described. Every night, in sleep, Damayanti sees Nala whom she has

accepted as her husband in her mind. The poet says that on account of

72Adrsta, sleep makes even an unseen object visible to the human eyes.

Normally, someone sees something in dream which he or she

has experienced already directly in day or at night time. But in case of

Damayanti, the situation is completely different. She has never seen Nala

but yet she dreams of him in sleep. The poet says that by virtue of her past

deeds, she sees Nala in her dream.

In the same context, a verse declares that though King Nala is

never seen by Damayanti, yet by sleep, he is shown to her as a great

secrecy, concealing him from her closed eyes and even from her mind,

unemployed because of the inactivity of the external sense organs.

175

Narayana adds that Damayanti is always inclined to Nala and

hence no phenomenal happiness comes to her without his attainment. In

the dreamless sleep, when Damayanti sees Nala, it is found that the object

of perception is nothing but Nala. So, she realizes that Nala shines as the

eternal bliss of Self in the state of her dreamless sleep. After awakening

from sleep, she comes to observe that she has realized the Self i.e. King

Nala. The existence of Self-consciousness in the dreamless sleep is

indicated here.

From the above representation of a couple of verses, a gist of

dream and dreamless sleep is found reflected in the present epic.

In the Vedanta philosophy, liberation is the realization of own

real nature. When true knowledge of Self arises on the removal of material

adjuncts, as a distinct entity, Self does not remain, but stands in its blissful

stature. According to Upanisads, Self is Brahman who is the all perceiver.

It is also said that one who realizes becomes Brahman.™

In various Upanisads, Supreme Self or Brahman is described as

‘Swan’ (Hamsa). In the Brhadaranyaka Upanisad, Brahman is depicted

as a golden swan, which is like a bird abiding in the nest-like body.75

According to §ahkaracarya’s opinion, Hamsa is Supreme Self that

eradicates the causes of illusory bondage. Harhsa is also meant for Jiva; in

each and every body it moves and resides. In various Upanisads, the word

176

Hamsa corresponding to the Absolute Self, gains a philosophical

significance.

The Hamsa concept and self-realization are referred to in few

verses of the Naisadha-carita. While Nala is in expedition, the

philosophical notion of swan finds a place of literary depiction. On the

pleasure tank surpassing ocean in beauty, Nala sees a golden swan moving

nearby and eager for the sweet sound of the female swan desires of play.76

Regarding Supreme Brahman, some metaphysical aspects are

visible from the said verse. Nala perceives the Self or Supreme Being that

is well-known as Hamsa in Upanisads. Here human body has been

compared with pleasure-pond. It is suggested that body is like an ocean in

view of its expansion and because of its transitoriness, it is like a pond. In✓

the cited verse, Maya Sakti is suggested by the female swan. Supreme

Brahman is described as golden swan here.

Supreme Being is referred to in another verse of the epic.

Carrying the love-message from Nala, the golden swan has reached the

pleasure-garden of Damayanti. In this context, the poet describes how

Damayanti’s maiden-friends behold the golden swan.

When in the pleasure-garden the swan has arrived, the eyes of

Damayanti’s maiden-friends leave their respective objects and remain

fixed on the swan which is unique and is possessed of an inexplicable

177

b e a u t y , j u s t a s t h e m i n d s o f a s c e t i c s p e r c e i v e t h e o n e a n d i n d e s c r i b a b l e

B r a h m a n .

I n a n o t h e r v e r s e , p o e t S r i h a r s a g i v e s p h i l o s o p h i c a l g i s t o f t h e

V e d a n t i c B r a h m a n . N a r a d a r e a c h e s t h e p a l a c e o f I n d r a , a f t e r c r o s s i n g o v e r

t h e f i r m a m e n t t h a t h a s u n f a t h o m a b l e d e p t h , j u s t a s a s a g e a t t a i n s t h e

B l i s s f u l B r a h m a n b y c r o s s i n g t h r o u g h t h e o c e a n o f m u n d a n e e x i s t e n c e

78w i t h o u t a b e g i n n i n g .

T o b e u n i t e d w i t h S u p r e m e S e l f , a s a g e i s t o t r a n s c e n d m u n d a n e

b o n d a g e t h a t i s t h e i m p e d i m e n t t o h i s s u b l i m e a s p i r a t i o n . H e r e B r a h m a n

i s d e s c r i b e d a s ‘ s a r m a - b h a r a - c d r u ’ ( e l e g a n t w i t h t h e p l e n i t u d e o f b l i s s ) .

I n t h e N a i s a d h a - c a r i t a , a r e f e r e n c e t o t h e V e d a n t i c s a l v a t i o n a s

w e l l a s t o t h e m u n d a n e l i f e i s f o u n d i n a v e r s e . W h e n D a m a y a n t i b e h o l d s

t h e u n k n o w n m e s s e n g e r , i . e . K i n g N a l a , s h e a c q u i r e s a n e x p e r i e n c e o f b o t h

t h e s t a t e s o f e m a n c i p a t i o n a n d o f t e r r e s t r i a l l i f e . F i r s t l y , s t a t e o f e t e r n a l j o y

7Qc o m e s a n d t h a n t h e s t a t e o f d e l u s i o n .

D a m a y a n t i b e c o m e s v e r y h a p p y w i t h b l i s s a t t h a t v e r y m o m e n t ,

a s s h e t h i n k s o f h i m t o b e h e r b e l o v e d N a l a . S h e a g a i n b e c o m e s

o v e r p o w e r e d b y i n e x p l i c a b l e d e l u s i o n , w h e n s h e t h i n k s t h a t N a l a w i l l n o t

b e a b l e t o e n t e r i n h e r w e l l - g u a r d e d i n n e r a p a r t m e n t . S o s h e e n j o y s a s w e e t

j o y o f t w o d i f f e r e n t t a s t e s , i . e . d e l i g h t a n d d e l u s i o n . T h e s t a t e o f r e a l i z i n g

178

Brahman who is Supreme Bliss is salvation. Mundane life is the state of

delusion which is obstacle to the eternal bliss.

A pomegranate tree comes into Nala’s sight, when he was

enjoying a delightful expedition in the pleasure garden. In this context, a

verse gives a description of self-realization.

The tree has breast-like fruits, the inner parts of which are

reddened with the state of being ripen. The mouths (beaks) of parrots to

dwelling in it are Cupid’s arrows like P alas a flowers and the beaks enter

into the inner part of the fruits. Likewise, the maiden has breasts like the

fruits of pomegranate and in between, her heart is replete with love owing

to the separation of her lover. Cupid’s arrows of Palasa flowers

resembling the beaks of parrots have permeated her love-lom heart.80

Here, the philosophical notion of Brahman-realization is

indicated. The pomegranate tree is compared with a viyogini, a maiden

who has the practice of astahga-yoga, by the word ‘phala’ used in the

verse, attaimnent of Supreme Self is suggested. By the word ‘stana’, the

implier or index is intended. The yogini with the practice of eightfold

yogic path realizes the Supreme Brahman.

In another verse of the epic, a depiction of Z?ra/zma«-realisation

is found. Nala forgets his messengership of the four gods, when he hears

the lamentation of Damayanti. Nala addresses Damayanti with a

179

passionate speech out of delusion. Afterwards, he has realized that he has

disclosed his identity, though he has to serve the duty of a messenger. He

sees that lamenting Damayanti comes herself and becomes calm on

hearing that Nala himself is the messenger. At that time, he remembers his

past and murmurs some words in his inner heart, just like a sage

experiences in realizing Brahman *1t -

The poet, Sriharsa, in some word - plays describes the

realization of Supreme Self. On practicing the Vedanta philosophy and

with the observation of ‘control of mind’, ‘restraint of senses’ etc. a sage

inclined to Supreme Brahman and he realizes himself as Absolute

Brahman.

In few verses discussed above, Self-realization has been summed

up with a Vedantic point of view. The poet of the present epic has

summarized the concept of Self-realization and has established the non-

dualistic status of the Vedanta philosophy.

According to the Vedantic system, liberation is attained when

illusory distinction between the Self and Brahman is sublated. The

Vedanta system admits of two kinds of liberation, viz. Jivanmukti and

Videhamukti. The liberation in this like is called Jivanmukti while on the

other hand, Videhamukti is posterior to Jivanmukti. One who has realized

truth is said to be liberated in life, for one while alive is entirely detached

180

from mundane bondage. It is said that even after the withdrawal of the

force, a potter’s wheel continues its rotation for some time. Likewise, the

body also continues to exist even after the attainment of knowledge,

though all attachment with the body is severed.

There are three kinds of actions (karmas), viz. Prarabdha Karma

(i.e. actions of past life which have bom their fruits); Sancita Karma (i.e.

actions of previous life that are still accumulated); and Sanciyamana

Karma (i.e. actions that are being accumulated in this life). The scripture

declares that the present body exists in order to receive the reward of the

fruits of the previous actions, until it perishes and no new actions are

accumulated. According to Gita, all actions are reduced to ashes by the

fire of knowledge.82 The liberated Self though exists in this world, does not

identify with the physical body, becomes completely detached from the

worldly sufferings and enjoys Supreme Bliss.

In the Naisadha-carita, a few verses speak of the Vedantic

liberation-in-life. Damayanti’s juvenile beauty is described in the

svayamvara stage. The poet states in the verse that even the lips and throat

of Brhaspati, the esteemed teacher of gods, are unable to properly describe

the beauty of princess Damayanti. For, Cupid’s endeavour destroys the

pride of their narrative power. Cupids effort is also to cause penitence to

those who have attained liberation by renouncing the mundane affairs.83

181

R e p e n t a n c e r e g a r d i n g t h e l i b e r a t i o n - i n - l i f e i s m e a n t h e r e . C u p i d ,

t h r o u g h b e a u t i f u l D a m a y a n t i , t r i e s t o a t t r a c t t h o s e w h o h a v e a t t a i n e d

l i b e r a t i o n i n t h i s l i f e . C u p i d ’ s w o r k p l a c e s b e f o r e t h e m m o r e b l i s s f u l t h a n

s a l v a t i o n a n d t h a t i s t h e g r a c i o u s b e a u t y o f t h e p r i n c e s s .

✓ .

I n a n o t h e r v e r s e o f t h e e p i c , p o e t S r i h a r s a h a s m e n t i o n e d a b o u t

J i v a n m u k t a . I n t h e l a n d o f N i s a d h a , K a l i s e e s t h e p e o p l e w h o h a v e k i l l e d

h e r o e s i n b a t t l e , b u t n o n e w h o h a s k i l l e d t h e s a c r e d f i r e b y a l l o w i n g i t t o

e x p i r e . B e s i d e s , K a l i d o e s n o t f i n d a n y b o d y w h o h a s s l e p t a t t h e s u n s e t ,

Q A

b u t s e e s t h o s e w h o h a v e a t t a i n e d l i b e r a t i o n w h i l e l i v i n g i n t h i s w o r l d .

T h e f o u r t h s t e p o f t h e v e r s e i s r e l a t e d t o t h e V e d a n t i c e m a n c i p a t i o n - i n - l i f e .

T h e f i r s t t h r e e s t e p s a r e a s c r i b e d t o t h e r i t u a l s o f M i m a m s a .

J i v a n m u k t a s a r e t h o s e w h o a r e l i b e r a t e d i n t h e i r l i f e - t i m e b e f o r e

d e a t h . T h e y r e g a r d t h e s o l e a n d A b s o l u t e B r a h m a n a s t h e i r s u m m u m

b o n u m o f l i f e . T h e y a r e n o t p r o n e t o m u n d a n e a f f a i r s w h i c h a r e o b s t a c l e s

Of

t o t h e p a t h o f f i n a l r e l e a s e , t h o u g h t h e y l i v e i n t h i s w o r l d .

I n a n o t h e r v e r s e , N a l a i s d e s c r i b e d a s t h e k n o w e r o f t h e S e l f .

T h o u g h N a l a e n j o y s p l e a s u r e w i t h D a m a y a n t i d a y a n d n i g h t , h e a c q u i r e s

/ wn o s i n . H e r e p o e t S r i h a r s a h a s i l l u s t r a t e d a n a r t i f i c i a l p r o p e n s i t y t o t h e

m u n d a n e p l e a s u r e d o e s n o t d e f i l e t h e p e r s o n w h o s e m i n d i s p u r i f i e d b y

k n o w l e d g e . 8 6

182

In another verse of this epic, the glamour of Moon has been

described by King Nala in front of Damayanti.

Moon is said to have had amorous dealings with Tara, the wife

of his teacher Brhaspati. Despite the guilt of adultery, Moon suffers no

degradation and it is the matter of wonder. In this regard, the poet declares

that worldly activities do not fasten those people who have the Self for

their light and have attained the final state of physical being.87

The Vedanta system regards Supreme Brahman as Self-

illuminating. In the present verse, it is suggested that Moon has its own

light. Therefore, it does not fall victim to degradation, just as a liberated

one in the worldly life, having the light of Brahman is not tainted by the

worldly objects. In this in few verses of the Naisadha-carita, the Vedantic

doctrine of liberation in life has been described.

For understanding the study of the Vedanta, a process of four­

fold is maintained. The four means to the attainment of knowledge are :

Discrimination between things, eternal and non-eternal, renunciation of the

enjoyment of fruits of action in this world and thereafter, six Ethical

virtues (i.e. restraint of senses, control of mind, abdication of desires,

forbearance, faith and self-settledness) and yearning for emancipation. Of

these four prerequisites of knowledge, for realization of truth, the three

stages of discipline are essential; and they should be backed by the

183

guidance of a teacher who has already realized Absolute Brahman. These

three stages are : Sravana (listening), Manana (reasoning) and Nididhya-/

sana (contemplation). Sravana is listening to instructions given by the

teacher or is hearing of the scriptures. Manana understands the teacher’s

instructions through proper thinking till the intellectual conviction is

acquired. The constant and uninterrupted meditation on truth is

Nididhyasana. The scripture declares that Self should be realized by virtue

of three-fold process of hearing, understanding and meditation.

In a verse of the Naisadha-carita, the three-fold means to the

Brahman-realisation is reflected, in order to convey Nala’s love-message

to Damayanti, the golden swan meets the princess in her city. Here, she

speaks of her devotional attitude towards Nala. She says that she has

already heard about Nala, has seen him in her delusion in all directions and

has contemplated him without cessation in the stream of consciousness.

She solicits that she would soon attain him or die and both the attainmentn o

and death depend on the swan.

Explaining the philosophical phases in the present verse,

Narayana interprets ‘Tat as ‘Brahman’. So the word ‘tatpraptf means

‘attainment of B r a h m a n Now in the case of Damayanti, it indicates the

attainment of Nala by the grace or assistance of the swan.

184

In another verse, Damayanti, in front of the female messenger of

Indra, shows her mental steadfastness. Nala has been deliberately chosen

by the princess in her heart. Therefore, the mercy of Indra would not inflict

her mind to be suppressed with repentance. In this regard, the poet

illustrates that when a firm-minded person aspirant for emancipation

merges in ‘That’ Supreme Self, with a scrupulous deliberation, declension

of pseudo-beauteous mundane pleasures does not cause any repentance in

his mind.89

Before reaching the state of liberation, the practiser properly

ponders over ‘That’ Brahman. A contrast between liberation and worldly

attachment is indicated here. The difference between mundane life and joy

of emancipation is respectively tantamount to the difference between Indra

and Nala, opines Narayana.90

An allusion to the Vedantic Supreme Self is found in another

verse of the epic. Observing the charming couple, i.e. Nala and

Damayanti, one of the maiden - spectators describes the beauty of the

couple and wishes them a happy life.

Of this world, Nala is the Cupid and with his physical beauty,he

is very graceful to the eyes of their friends. The bodily glamour of Nala is

due to immense virtues accumulated in many a birth of Damayanti. The

princess is even not attainable by the countless virtue of Indra, the Lord of

185

heaven. The maiden-spectator wishes that Nala might attain the non­

duality of lustres, possessing Damayanti as his life-partner.91 From the

philosophical aspect, Narayana says about the eight-fold path of Yoga

which collaborated with knowledge acquired by the mercy of God, paves

the way for non-dual liberation, i.e. the natural stature of Self.

In another verse of the Naisadha-carita, it is seen that God

Visnu has been worshipped by Nala as Brahman and addresses Him in

regard to concentration. It is stated that when worldly misery ceases to be

for ever, liberation is brought about. But such a view is unreasonable.

For, in the mortal world, there is incessant chain of births caused by the

actions done in previous lives. Hence profound contemplation on God is

the cardinal solution for the final release. So freedom from mundane

09sufferings depends on realizing God through ‘samadhf.

According to Narayana, realization of Supreme Self is attained

by means of meditation. He explains that on the Self-realisation or Self-

knowledge, previous actions are entirely unrooted and ‘prarabdha’ actions

are attenuated by enjoyment. Thus the Vedantic liberation through

meditation is asserted here. So from the above assessment, it is suggested/ _

that Sriharsa as a devotee of non-dualism depicts the uniqueness of

Brahman and the means to attain the Supreme Being.

186

/ nSriharsa, as a well-founder poet and prudent reasoned, he has

sought to pore upon several problems of different systems of Indian

philosophy with the monistic insight. In the Naisadha-carita as well as in

his other outstanding treatise of philosophy, his Vedantic depiction has

found its perfect realization.

NOTES AND REFERENCES

1. vedanta namo upanisatpramanam. VS, p. 1.

2. athato brahmajijnasa BS. 1/1/1.

3. brahma satyam jaganmithya....................• » mm

4. jivo brahmaiva naparah. Bhamati under BS, 1/1/1.

5. ekamevadvitiyam brahma. Cha. Upa. 6/2/1.

6. yadeva saksad aparoksad brahma. Brh. Upa. 3/5/1.

7. satyam jnanam anantam brahma. Tai. Upa., 2/1/1.

8. yato vaco nivartante aprapya manasa saha. Ibid, 2/4/1.

9. vijnanam anandam brahma. Brh. Upa., 3/9/28.

10. nityah sarvajnah sarvagato nityatrpto nityasuddha-buddha-

i / -muktasvabhavo vijnanam anandam brahma. Sariraka Bhasya, 1/1/4.

11. (a) janmadyasya yatah. BS. 1.1.2.

(b) yato va imani bhOtani jay ante. Tai. Upa., 3/1.

187

12. anandadhyeva khalu inlani bhutani jayante; Inandena jatani jivanti;

anandam prayanty abhisamvisanti. Ibid., 3/6.

13. cidatma tu smti-smrtltihasa-purana-gocaras tanmulatadaviruddhan-

yaya-nimita-suddha-buddha-mukta-svabhavah sattvenaiva nirvacyah.

abadhita svayam-prakasataivasya satta; sa ca svarupam eva

cidatmanah. Bhamati, 1/1/1.

14. adhigatya jagatyadhlsvarad atha muktim purusottamat tatah /

vacasam api gocaro na yah sa tamanandam avindata dvijah / NC., 2/1.

15. yatha dvijo brahmano jagati loke adhlsvarat sarvotkrstat purusottamat

srrvisnoh sakas'at prasadat muktim muktisadhanarh samsara-mocanam

ca jhanam prapya vagagocaram, ‘api’-sabdat manaso’pi agocaram,

anandam brahma-svarupam prapnoti. ‘yato vaco nivartante’ iti,

anandam brahmano rupam’ iti ca sruteh.jnanat moksa iti.

NSrayana’s comm., on NC. 2/1.

16. ‘yato vaco nivartante’ ityader avanmanasa-gocaras'ca tarn anandam

paramanandam ca avindata. Midi’s comm, on NC,2.1.

17. avapyate va kimiyad bhavatya cittaikapadyam api vidyate yah /

yatrandhakarah kila cetaso’pi jihmetarair brahma tadapyavapyam//

NC. 3/63.

18. yatra brahmani celaso’pi andhakarah, “yato vaco nivartante aprapya

man as a saha” }& sruteli. Yan mano-gacaro na bhavati, tadapi

svaprakasaiii brahma jihmetarair analasair avapyam prapyam

prapyate. Narayana’s comm., on Ibid.

188

19. ramaniyaka-gunadvaya - vadam murtamutthitam amum paribhavya /

vismayaya hrdayani viterus tena tesu na surlh prababhuvah //

NC. 5/65

20. brahmadvayasyanvabhavat pramodam

romagra evagra - niriksite’syah /

yathaucitittham tadasesa-drsta -

yatha smaradvaita-mudam tathasau // Ibid., 7/3.

21. tasya ramaniya - s'akalavayava - darsane brahmadvaitanandad adhiko

madanadvaitananda eva'bhavitum samucitah.

Narayana’s Comm, on Ibid.

22. anandasya brahmabhede’pi upacarad bheda - vyapadesah.

Midi’s comm., on Ibid.

23. prasuna - banadvaya - vadini sa kacid dvijenopanisat - pikena /

asyah kimasya - dvijarajato va nadhlyate bhaiksa-bhuja tarubhyah//

NC. 7/48.

24. nirfksitam congam aviksitam ca

drsa pivantl rabhasena tasya /

samanam anandam- iyam dadhana

viveda bhedam na vidarbha-subhruh// Ibid. 8/12.

25. mudharpitam murdhasu ratnam ebhir

yannama tani svayam eta eva /

svatah - prakase paramatma - bodhe

bodhantaram na sphuranartham arthyam // Ibid, 10/63.

189

26. paramatma-visayake tatsvarupa va jnane visaye sphuranartham

tajjnanaprakasanartham bodhantaram anuvyavasayadi - rapam

jnanantaram na arthyam napeksyam

Midi’s comm.. onNC, 10/63.

27. duratas stutir avag - visayaste rapam asmadabhidha tava ninda/

tat ksamasva yadaham pralapami tyukti - purvam apam etad avocot//

NC. 21/52.

28. svaprakasajada esajanaste vamanam yadabhilasyati kartum /

nanvaharpatimahah prati sa syan na prakasanarasas tamasah kim//

Ibid. 21/53.

29. maiva vanmanasayor visayo bhus tvam punar na katham uddisatam

te/ utka-cltaka-yugasya ghanah syat trptaya ghanam anapnuvato’pi //

Ibid. 21/54.

30. dharma-vija salila saridanghra- vartha-mutam urasi sphurati srih /

kama-daivatamapi prasavaste brahma muktidam asi svayam eva //

Ibid. 21/110.

31. jnatva devam mucyate sarva-pasaih. Sve.Upa. 1/8.

32. ksatra-jatir udiyaya bhujabhyam ya tavaiva bhuvanam srjatah prak /

jamadagnya-vapusas tava tasyas tau layartham ucitau vijayetam //

NC. 21/65.

3 3. brahmano ’ sy a mukham asid bahu raj any ah krtah /

urn tadasya yad vaisyah padbhyam sildro ajayata //

RgV.,Purusasukta, X.90/12.

190

34. visvarupa krta-visva kiyat te vaibhavadbhutam anau hrdi kurve /

hema nahyati kiyan nija-cire kancanadrim adhigatya daridrah //

NC. 21/117.

3 5. avikalpa - visaya ekah sthanuh purusah sruto ’ sti yah srutisu /

Isvaramumaya na param vande’numayapi tadadhigatam //

Khandana,l/1.

36. yatha ca parihrta - capalam atma-tattvamrta-sarasi nimajjya rajyati

nira-yasam eva manasam tathaham akathayam naisadhacaritasya

parama- purusa stutau sarge. Ibid, Ch. 1, p. 125.

37. riavidya brahmanah svabhavah, riartHantaram, natyantam asati,- riapi

sati; evameveyam avidya maya mithyavabhasa ityucyate.

Brahmasiddhi, Brahma-kanda, p. 9.

38. brahmanastu iyam avidya-saktir mayadi-sabda-vacya na sakya

tattvena anyatvena va nirvaktum. Bhamati. 1/4/3.

39. brahmano’stu tava sakti-latayam murdhni visvam atha

patyur? :-;,ahmam/

balatam kalayato jathare va sarvathasi jagatam avalambah //

NC. 21/109.

40. anadi-sarga-sraji vanubhuta citresu va bhimasutanalena /

jateva yad va jita-sambarasya sa sambari - silpam alaksi diksu //

Ibid. 6/14.

191

41. alika - bhaim - saha - darsananna

tasyanya - kamyapsaraso rasaya /

bhaimi-bhramasyaiva tatah prasadad

bhaiml-bhramastena na tasvalambhi // Ibid. 6/15.

42. alika - drstayas tasyah sakasat atihlnatvat sadrsyalaksana-bhranti-

karanabhavad bhaimT - bhrantir notpanna. Narayana’s comm., on

Ibid.

43. bhaimi-nirase hrdi manmathena datta-svahastad virahad vihastah /• •

sa tarn alikam avalokya tatra ksanad apasyan vyasadad vibuddhah //

Ibid. 6/16.

44. ambam pranatyopanata natangi nalena bhaimi pathi yogam apa /

sa bhr§nti-bhaimisu na tarn vyavikta sa tarn ca nadrsyataya dadarsa//

Ibid. 6/48.

45. srag vasanadrsta - jana - prasadah satyeyam ityadbhutam apa

bhupah/

ksiptam adrsyatvam itam ca malam alokya tarn vismayate sma bala //

Ibid. 6/50.

46. anyonyam anyatravad iksamanau parasparenadhyusite’pi dese /

alingitalika- parasparantas tathyam mithas tau parisasvajate//

Ibid. 21/54.

47. satyam api alika - buddhyaiva alilingatuh. Narayana’s comm..on Ibid.

192

48. sparsatiharsadrta - sagtya - matya pravrtya mithya-pratilabdha -

badhau/

punar mithas tathyam api sprsantau na srad dadhlte pathi tail

vimugdhau// Ibid. 6/53.

49. sarvatra samvadyam abadhamanau rupasriyatithyakaram param tau /

na sekatuh keli-rasad virantum alikam alokya parasparam tu //

Ibid. 6/54.

50. yada purvajnanam utiarajnanena badhanianau bhavatah, tada tathyam

na syat, tathavidham api satyam parasparam krldanuraga - mohena_ /

alikam iva janitah sma. CP’s comm., on Ibid, NCS, p. 395.

51. salika-drste madanonmadisnur yathapa s'alina-tama na maunam /

tathaiva tathye’pi nale na lebhe mugdhesu kah satya-mrsa-vivekah//

Ibid. 8/18.

52. sanka-lata-tatim aneka-nalavalambam

vani navardhayatu tavad adhedikeyam /

bhimodbhavam prati nale ca jalesvare ca

tulyam tathapi yadavardhayad atra citram// Ibid. 13/26.

53. tadrsam cecchanuvartitvam avidyaya api drstam netrasyahgulya-

vastambhena dvicandra-bhramotpatteh.

Vivarana-prameya samgraha, p. 37.

193

54. asti dvicandra-matir asti janasya tatra

bhrantau drganta-cipiti-karanadir adih /

svacchopasarpanam api pratimabhimane

bheda-bhrame punar amisu na me nimittam // Ibid. 13/42.

5 5. ariacarat - tathya - mrsa - vicaranam

tadananam karna-lata-yugena kim/

babandha jitva mani - kundale vidhu

dvicandra - buddhyatkathitavasuyakau // Ibid. 15/41.

56. jitas tadasyena kalanidhir dadhe

dvicandradhi - slksika - maya- kayatam /

tathapi jigye yugapat-sakhi- yuga -

pradarsitadarsa - bahu -bhavisnuria // Ibid. 15/51.

57. tatra advaita - srutya sandihyamanasya pramatvasya evasiddhe bheda

- dhimatrasya ca dvi-candradi - bodhavad anyathapy upapatteh.

Kanndana, Ch. 1, p. 85.

58. saptum prayacchati na paksa-catustaye tam

tallabha-samsini na pancama - koti - matre /

sarddham dadhe nisadharad - vimatau matanam• 4

advaita - tattva iva satvatare’pi lokah // NC. 13/36.

59. (a) idam sarvam yad ayam atma. Brh. Upa. 2/4/6.

(b) brahmaivedam sarvam. Mundaka Upa. 2/2/11

194

(c) atmaivedam sarvam. Cha. Upa. 7/25/2;

(d) neha nanasti kincana; mrtyoh sa mrtyum apnoti ya iha rianeva

pasyati. Brh. Upa. 4/4/19.

60. yatha saumyaikena mrt-pindena sarvam mmmayam vijnatam syad

vacarmbhanam vikaro namadheyam mrttiketyeva satyam.

Chia.Upa. 6/1/1.

61. asti bhati priyam nama cetyams'a - pancakam /

adyatrayam brahma - rupam jagad-rupam tato dvayam //

Drgdrsya-viveka, Verse 20.

62. tvat-klrtih punatl punastribhuvanam subhradvayl desanad /

Dravyanam siti-pita-lohlta-harin-namanvayam lumpatu //

NC. 5/135, second half.

63. brahmartha - karmarthaka - veda - bhedad

dvidha vidhaya sthitam atmadeham /

cakre paracchadana - caru yasya

mlmamsaya mamsalam uru - yugmam // Ibid. 10/81.

64. sanantan apya tejah - sakha - nikhila - m arut- plithivam distabhajas"

cittenasajusas tan samam asama-gunan muncati gudha-bhava /

parevagvarti-rupam purusam anu cidambhodhim ekam subhangi

nihsimanandam asid upanisad - upama tatpaiibhuya bhuyah /

Ibid. 11/129.

65. athato adeso neti neti, na hyetasmad iti. Brh. Upa, 2/3/6.

195

66. vastu vastu ghatate na bhidana yaukta-naikavidha-badha-virodhaih /

tattvadihita - vijnnbhita-tattad-bhedam. etad iti tattva-niraktih //

Ibid. 21/107.

67. tam utkramantam prano’nutkramati, pranam utkramantam sarve prana

utkramanti. Brh. Upa. 4/4/2.

68. amuni gacchanti yugani na ksanah kiyat sahisye na hi mrtyurasti me /

sa mam na kantah sphutam antar ujjhita na tam manas tam ca na

kaya- vayavah // NC. 9/94.

69. indriya-janya-visaya-gocaraparoksantah-karana-vrttyavastha

svapnavastha. Vedanta ParibhSsa, p. 145.

70. tatha svapnah, svapnantikam; dharmacca. Vai. Su. 9/2/7, 8 and 9.

71. tat tu trividham, samskara- pafavad dhatu - dosad adrstacca.

PPB, p. 151

72. manorathena svapatikrtam malam nisi kva sa na svapati sma pasyati /

adrstam apyartham adrsta-vaibhavat karoti suptir jana-darsanatithim//

NC. 1/39.

73. nimilitad aksiyugacca nidraya

hrdo’pi bahyendriya - mauna -mud ri tat /

adarsi samgopya kadapyavlksito

rahasyam asylh sa mahan mahlpatih// Ibid. 1/40

196

74. (a) ayam atmS brahma sarvanubhuh. Brh. Upa.2/5/19;

(b) brahmaiva san brahmapyeti. Ibid. 4/4/6.

(c) brahmavid brahmaiva bhavati. Mundaka Upa.

(d) aham brahmasmi. Brh.Upa. 1/4/10.

(e) tat tvam asi. Cha. Upa. 6/8/7.

75. hiranmayah purusa eka - hamsah. Brh. Upa. 4/3/11 and 12.

76. payodhi-laksmi-musi keli-palvale

riramsu-hamsi ~ kalanada - sadaram /

sa tatra citram vicarantam antike

hiranmayam hamsam abodhi naisadhah // NC. 1/117.

77. netrani vaidarbha-suta-sakhmam»

vimukta-tattadvisaya-grahani /

prapustam ekam nimpakhyarapam

brahmeva cetarhsi yata-vratanam// Ibid. 3/3.

78. sa vyatltya viyad antaragadham

nakanayaka-niketanam apa/

sampratlrya bhavasindhum ariadim

brahma-sarma-bhara-caru yatjva// Ibid. 5/8

79. tatkalam anandamayi bhavantl

bhavattaranirvacaniya - moha /

sa mukta-samsari-desa-rasabhyam

dvi-svadam ullasam abhunkta mistam. Ibid. 8/15.

197

80. viyoginim aiksata dadimim asau

priya - smrteh spastam udlta - kantakam /

phala - stana - sthana - vidirna - ragi - hrd -

visacchukasya ~ smara - kimsukasugam // Ibid. 1/83.

81. munir yathatmanan atha probodhavan

pnakasayantam svam asavabudhyata /

api pnapanriam prakrtim vilokya tam

avapta-samskaratayasrjad girah // Ibid. 9/121.

82. jnanagnih sarva-karmani bhasmasat kurute’rjuna. Gita. 4/37.

83. gurorapimam bhanadostha - kantham

nirukti - garva - cchidaya vinetum /

sramah smarasyaiva bhavam vihaya

muktim gatanam anutapanaya// Ibid. 10/132.

84. tenadrsyanta viraghna na tu virahano j anah /

napasyat so’bhinirmuktan jlvanmuktan avaiksata // Ibid. 17/197.

85. jivantasca te muktasca tan visaya-parityagino brahmajnanino’vaiksata.

Narayana’s comm.on Ibid.

86. atmavlt saha taya divanisam

bhoga - bhagapi na papam apa sah /

ahrta hi visayaikatanata

jnana - dhauta - manasam na limpati // Ibid. 18/2.

198

87. riasya dvijendrasya babhuva pasya

daran guroryata - vato’pi patah /

pravrttayo’pyatmamaya - prakasan

nahyanti na hyantima-deha-praptan // Ibid. 22/118.

8 8. srutah sa drstasca haritsu. mohat» « • <

dhyatah sa nirandhrita-buddhi - dharma /

mamadya tat-praptir asuvyayo va

haste tavaste dvayam ekasesah // Ibid. 3/82.

89. tasmin vimrsyaiva vrte hrdaisa

maindrl daya mam anutapikabhut /

nirvatu-kamam bhava-sambhavanam

dhiram sukhanam avadhlraneva // Ibid, 6/96.

90. tasmin tat - s'abda - vacye brahmani hrda vimrsayahgikrtesati -

moksa- sukhasya samsara - sukhasya ca yavad antaram tavan

nalendrayor iti bhavah. Narayana’s comm., on Ibid.

91. vaidarbhl - bahu - janma - nirmita - tapah- silpena dehasriya

netrabhyam svadate yuvayam avani vasah prasunayuddhah /

girvanalaya - sarvabhauma - sukrta- pragbhara- dusprapaya

yogam bhimajayanubhuya bhajatam advaitam adya tvisam //

Ibid. 15/87.

92. prag - bhavair udogudambhava - gumphan

mukti - yiikti - vihataviha tavat /

riaparah sphurati kasyacanapi

tvat - samadhim avadhuya samadhih // Ibid. 21/103.

199