Knowledge of Vedāṅga-śāstras in the Śiśupālavadha

Different discussions of the vedāṅga śāstras are seen in the epic of Māgha.

1. śikṣā,
2. kalpa,
3. nirukta,
4. vyākaraṇa,
5. chandas [chandaḥ] and
6. jyotiṣa.

These six are vedāṅgas. Aṅgī is Veda. The helper of aṅgī is called aṅga. Word conception, meaning, relation between verse and verb, method of utterance etc. of the veda are necessary. So, they are called vedāṅgas. That which helps in akṣarabrahma jñana (the knowledge of the supreme soul, Brahman) is known as Parāvidyā. That which helps in āstikya vuddhi (belief in God) is known as aparāvidyā. vedāṅga is a part of aparāvidyā.

Śikṣā

Māgha is well versed about vedāṅgas. Śikṣā is placed before all among the six vedāṅgas. In the śikṣā the appropriate rules for the pronunciation of vedic voice, dimension etc. are stated. This is also called science of sound. We may notice Māgha’s knowledge about vedāṅga śāstra named śikṣā in the ninty fifth verse of the second canto, in fifteen the verse of the fifth canto and in the twenty fourth verse of the fourth canto of the Śiśupālavadha.

“tadīśitāraṃ cedānīṃ bhavāṃstamavamaṃsta mā |
nihantyarīnekapade ya udāttaḥ svarāniva ||” 2.95 ||^[1]

“agregatena vasatiṃ parigṛhya ramyāmāpātyasainikanirākaraṇākulena |
yānto'nyataḥ plutakṛtasvaramāśu durādudvāhunā guhuvire mūhurātmā vargyāḥ ||” 5.15 ||^[2]

And

“sthagayantyamūḥ śamitacātakārtasvarā jaladāstaḍittulitakāntakārtasvarāḥ |
jagatīriha sphuritacārucāmīkarāḥ savituḥ kvacit kapiśayanti cāmī karāḥ ||” 4.24 ||^[3]

Kalpa

Kalpa is one of the vedāṅga sacrifices are the main theme of the kalpa. The books that are composed regarding the procedures of sacrificial ceremony are called kalpasūtra or kalpa. Like gṛhyasūtra, śrautasūtra etc. different procedures of sacrificial ceremony are nicely stated in most parts of fourteenth canto of the Śiśupālavadha. From this it is understood that Māgha was aware of the śāstric system of the vedic sacrificial ceremony of Kalpaśāstra. The use of some distinct words of kalpaśūtra, are used in different verses of the epic. Those are vedi (2/3) śikhitrayi (2/3), yūpa (14/52) svara (14 /21) darbhamayakāñci (14/22), vaṣaṭ (14 /25), purodāśa (2/106), etc.

Nirukta

The knowledge of Nirukta is scattered in the epic of Māgha. Among the Vedāṅgas Nirukta is similarly important. Māgha has used two types of sound (śabda) in his epic. Sound is generally divided into four types viz., yaugic (compound word), rūḍa (derived word giving a specil sense) yogarūḍa (compound word of particular sense.) yaugicrūḍa. Māgha has used rūḍa (conventional meaningful), and yaougic (compound word) śabdas sound.

As an example we can take the sound ‘pramadā’—used by Māgha in the twenty third verse of the tenth canto—

“dattamāttamadanaṃ dayitena vyāptamātiśayikena rasena |
sasvade mukhasuraṃ pramadābhyo nāma rūḍhamapi ca vyudapādi ||” 10.23 ||^[4]

Here rūḍa or conventional meaning of the word pramadā is understood as a lady, but derivative meaning of the word pramadā is a lady who takes drink, “prakṛṣṭamadayogāt pramā” | Similarly Indra (1/42), Asura (1/43) calā (1/44), Pundarikākṣa (1/24) Rāvaṇa (12/9), Sumanas (7/28) etc. words prove that Māgha has immense knowledge about Nirukta.

Grammar is necessary for acquiring the knowledge of meaning of the veda. The sages composed grammar to preserve the discipline of language.

‘ṣaḍaṅgeṣu punarcyākaraṇaṃ pradhānam’ (Mahābhāṣaya, paspaśā 1^st chapter).

Again some of the scholars say that—

“mukhaṃ vyākaraṇaṃ smṛtam, vyākaraṇaṃ vai mukhaṃ vedānām” |

Necessity of the Grammar to preserve the veda is seen in the Mahābhāṣya (1.9.9).

Vyākaraṇa (Śabdavidyā):

Which is to:

rakṣārthaṃ vedānāmadhyeyaṃ vyāṃkaraṇam | (paspaśāhnika, 07)^[5]

We can realise that Māgha had a vast knowledge on grammar or Śabdānuśāsana by analysis of the Śiśupālavadha.

Science of grammar is called as ‘Śabdavidyā’ also.

“anutsūtrapadanyāsā sadvṛttiḥ sannivandhanā |
śavdavidyeva no bhāti rājanītirapaspaśā ||”2.112 |^[6]

He called grammarians as Śabda śāsanavid.

“saṃśayāya dadhato sarupatāṃ dūrabhinnaphalayoḥ kriyāṃ prati |
śavdaśasanavidaḥ samāsayorvigrahaṃ vyavasasuḥ svareṇa te ||”14.24 |^[7]

From the use of some words like sūtra nyāsa vṛtti nivandhana paspaśā etc. in the verse no 112 of the second canto which are grammatically characterised.

We realise that Māgha has immense knowledge of grammar.

“anutsūtrapadanyāsā sadvṛttiḥ sannivandhanā |
savdavidyeva no bhāti rājanītirapaspaśā || 2. 112253

By the word sūtra (sūtra) poet Māgha indicated paninian grammar.

It is seen in the seventy fifth verse of the nineteenth canto.

“nipātitasuhṛtsvāmipitṛvyabhrātṛmātulam |
pāṇiniyamivālokidhīraistat samarājiram ||” 19. 75 ||^[8]

Poet Māgha was born many years after Paṇini. He discussed about the technical terms of grammar in the context of Śiśupāla’s advice which was in precise.

As few letterd words as technical terms accupy the all directions, like this the advice of the king Śiśupāla which are few lettered words, cover all directions and people accept it as proof.

“paritaḥ pramitākṣarāpi sarvaṃ viṣayaṃ prāptavatī gatā pratiṣṭām |
na khalu pratihanyate kutaścit paribhāṣeva garīyasī yadājñā ||”16.80 ||^[9]

Poet Māgha has given a nice description about the application rules of root in active and passive voice.

“kevalaṃ dadhati kartṛvācinaḥ pratyayāniha na jātu karmaṇi |
dhātavaḥ sṛjatisaṃhṛśāstayaḥ staitiratra viparītakārakaḥ ||” 14.66 ||^[10]

In case of Śrī kṛṣṇa’ three roots i.e √sṛj, √sam-hṛñ and √śās are suffixed in active voice. Like—

hariḥ sṛjati, hariḥ saṃharati and hariḥ śāsti |

But it is not

hariṃ sṛjati, saṃharati and śāsti |

The opposite is applicable in case of the root stu. Means the root √stu for Śrīkṛṣṇa is not suffixed in active voice, but it is suffixed in passive voice. Like hariḥ stuyate |

“uddhatān dviṣatastasya nighnato dvitayaṃ yayuḥ |
pānārthe rudhiraṃ dhātau rakṣāthe bhuvanaṃ śarāḥ ||” 19.103 |^[11]

With the addition of upasarga (prefix) the meaning of the root is changed.

It is said in Harikārikā-

“upasargeṇa dhātvartho valadanyatra nīyate |
prahārāhāra saṃhāra vihāra parihāravat ||”

He nicely showed the change of meaning of the root with the addition of upasarga (prefix) in the fifteenth verse of the tenth canto.

“santameva ciramaprakṛtavādaprakāśitamadidyutadaṅge |
vibhramaṃ madhumadaḥ pramadānāṃ dhātulīnamupasarga ivārtham ||” 10.15 ||^[12]

Māgha had nicely discussed compound in the twenty fourth verse of the fourteenth canto.

saṃśayāya dadhato sarupatāṃ dūrabhinnaphalayoḥ kriyāṃ prati |
śavdaśāsanavidaḥ samāsayorvigrahaṃ vyavasasuḥ svareṇa te ||14.24 ||^[13]

In this way by the use of prefix Māgha had proved his excellence in grammatical knowledge also.

Chandas:

Chandasūtra of Piṅgala is included in the vedāṅga. Māgha had excellence in the chandaśāstra. He exceeded Kālidāsa and Bhāravi in application of various metres. Kālidāsa applied eighteen (18) types of classical (laukika) metres in his epic and Bhāravi applied twenty four types.

But poet Māgha applied forty five types of classical (laukika) metres in his Śiśupālavadha. These figures are given by famous commentator Mallinātha. Frequent use of Anuṣṭubh and Upajāti metres are found in the verses of his epic.

The use of anuṣṭubh is noticed in second and nineteenth canto and the use of upajāti metre is noticed in the third and twelfeth canto. Form this we come to know that Māgha was well versed in various types of metres.

Jyotiṣa

Jyotiṣa is a part of the vedāṅga. The knowledge of Jyotiṣaśāstra is necessary for performing vedic yajña. It is also known as Kālavijñānaśāstra (science of time). The great poet Māgha was also well versed in this śāstra (scripture). According to the Jyotiṣa śāstra emergence of comets yields fruits. This statement was mentioned by Māgha in the first canto of his epic.

This is nicely discussed in the seventy fifth verse of the first canto.

“śatrūṇāmaniśaṃ vināśapiśūnaḥ kruddhasya caidyaṃ prati |
vyomnīva bhrukuṭicchalena vadane ketuścakārāspadam ||” 1.75 ||^[14]

When Jupiter and venus follow the moon, then the beauty of the moon increases similarly when Śrī kṛṣṇa arrived to the meeting hall with Uddhava and Balarāma Śrīkṛṣṇsa’s beauty was also increased.

According to astrology ((Jyotiṣaśāstra) the co-appearance of these three planets is known to be auspicious.

Here the decision taken by Śrī kṛṣṇa Uddhava and Balarāma in the meeting hall indicates auspiciousness.

“sārddhamuddhavasīribhyāmathāsāvadasat sadaḥ |
gurukāvyānugāṃ vibhraccāndrīmabhinabhaḥ śriyam ||” 2.2 ||^[15]

The rest one enemy may opposes in the way of happiness.

In this context Māgha described nicely the devouring of the Moon by Rāhu, the son of Siṃhikā.

“dhriyate yāvadeko'pi ripustāvat kutaḥ sukham |
puraḥ kliśnāti somaṃ hi siṃhikeyo'suradruhām ||”2.35 ||^[16]

In the astrology (Jyotiṣaśāstra) it is said that Rāhu devours the Sun and the Moon.

Māgha said this matter in his epic in the forty ninth verse of the second canto.

“tulye'parādhe svarbhānurbhānumantaṃ cireṇa yat |
himāṃśumāśu grasate tamradimnaḥ sphuṭaḥ phalam ||” 2. 49 ||^[17]

Here Rāhu is addressed as Svarbhānu.

Māgha used the word Pārvaṇa (pārvaṇa) in the second verse of the third canto of his epic.

According to astrology (Jyotiṣaśāstra) the condition and change of the moon within the four days in a fortnight is called Pārvaṇa.

“jagat pavitrairapi tanna pādaiḥ spraṣṭuṃ jagatpūjyamayujyatārkaḥ |
yato vṛhatpārvaṇacandracāfṅkṣatasyātapatraṃ vibharāmvabhūve ||”3. 2 ||^[18]

The star named Puṣyā is discussed in the astrology (Juotiṣaśāstra). Mallinātha said this in his commentary of the twenty second verse of the third canto of the Śiśupālavadha.

“pūṣyaḥ sarvārthasādhakaḥ” (commentary of the Śiśupālavadha 3/22).

This statement is according to scriptures (śāstra). But he did not mention any particular scripture. According to astrology (Jyotiṣaśāstra) the star puṣyā helps in attainment of ones desires. Poet Māgha compared Puṣpā chariot with star Puṣya.

As Puṣyā star helps in attainment of desires, similarly puṣpā chariot helps in success. It is nicely explained by Māgha.

“rarāja sampādakamiṣṭasiddheḥ sarvāsu dikṣvapratisiddhamārgam |
mahārathaḥ puṣyarathaṃ rathāṅgī kṣipraṃ kṣapānātha ivādhirūḍhaḥ ||”3. 22 ||^[19]

At the end of the night hastā star is disappeared:

‘hastārajaniravanatendu’ |

This information is indicated in the ninety first verse of the tenth canto.

“itimadamadanābhyāṃ rāgiṇaḥ spaṣṭarāgānanavaratarataśrī saṅginastānavekṣya |
abhajata parivṛttiṃ sātha paryastahastā rajaniravanatendurla jjayādhomukhīva ||”10.91 ||^[20]

Māgha mentioned tiny Dhruba star and saptarṣimaṇḍala in the third verse of the eleventh canto.

“sphuṭataramupariṣṭādalpamūrttedhruvasa, sphurati sūramunīnāṃ maṇḍalaṃ vyastametat |
śakaṭamiva mahīyaḥ śauśave śārṅgapāṇeścapalaścaraṇakāvja preraṇottuṅgitāgram ||” 11.3 ||^[21]

When the earth lies between any two planets except the Sun and the Moon according to the astrology (Jyotiṣaśāstra) this is called duradharā—

This is auspicious for success. Poet Māgha used the word “duradharākṣamiṇdunā,” in the twenty second verse of the thirteenth canto of his epic.

“pavanātmajendra sutamadhyavartinā nitarāmaroci rucireṇa cakriṇā |
dadhateva yogamubhaya grahāntarasthitikāritaṃ durudharākṣamindunā ||”13.22 ||^[22]

The poet discussed different aspects of astrology (Jyotiṣaśāstra) using the words śaśibhārgavāvudaya.

“abhitaḥ sado'tha haripāṇḍavau rathādamalāṃśumaṇḍalasamullāsattanū |
avateraturnayananandanau nabhaḥ śaśibhārgavāvudayaparvatādiva ||” 13. 61 |^[23]

The word “sakīlamiva sūryamaṇḍalam’ is used in the foyrty eight verse of the fifteenth canto

“śititārakānumitatāmranayanamarunīkṛtaṃ krudhā |
vāṇavadanamudadīpi bhiye jagataḥ sakīlamiva sūryamaṇḍalam ||”15.48 |^[24]

This makes us doubtless about Māgha’s knowledge on astrology (Jyotiṣaśāstra).

Footnotes and references:

[1]:

ibid., p.92.

[2]:

ibid., p.197.

[3]:

ibid., p.160.

[4]:

ibid., p.398.

[5]:

Damodara Ashram: Vyakaraṇa Mahābhāṣaya, p.37.

[6]:

Haridasa Siddhantavagisa: Op.cit., p.100.

[7]:

ibid., p. 559.

[8]:

ibid., p.811.

[9]:

ibid., p. 702.

[10]:

ibid., p. 584.

[11]:

ibid., p. 823.

[12]:

ibid., p. 294.

[13]:

ibid., p. 559.

[14]:

ibid., p. 44.

[15]:

ibid., p. 46.

[16]:

ibid., p. 63.

[17]:

ibid., p. 69.

[18]:

ibid., p. 104.

[19]:

ibid., p. 114.

[20]:

ibid., p. 430

[21]:

ibid., p. 432.

[22]:

ibid., p. 521.

[23]:

ibid., p. 542.

[24]:

ibid., p. 636.