SEMINAR REPORT -

POEMS BY PAṆḌITĀ
KṢAMĀ RĀV

Submitted By: Arya A Varma

Register Number: 19KA03SG01
Class: Fourth Semester M.A Degree
Department: Sanskrit General
Course: Vista of contemporary writings in
Sanskrit (PSGS10122)
ACKNOWLEDGEMENT

I am glad to present a seminar on the topic ‘Poems by Paṇḍitā Kṣamā Rāv’ as

a part of the internal evaluation. I would like to express our gratitude and thanks
from the bottom of our heart to Smt. Lt. Lisha C R, without whose guidance,
this task would not have been accomplished. I also extend our sincere gratitude
to all other faculty members of the Department of Sanskrit General and my
friends and other people who have helped me in this endeavor.

INTRODUCTION
Ever since the beginning of Sanskrit Literature, we come across various female
authors - be it the Vedic women Gārggī, Maitreyī etc. who propound about the
supreme soul or the poetesses like Gaṅgādevī, Tirumalāmbā, Madhuravāṇī

etc. Paṇḍita Kṣamā Rāv is one such personality of the twentieth century, whose
name is worth mentioning when it comes to modern writings in Sanskrit.
Pandita Kṣamā Rav has composed several works, predominantly metrical ones.
Most of her poems are of Mahakavya and Khandakavya types, according to
traditional Indian way of classifying literature. The genres that one comes
across through her works mainly include biography. Most of her Kavyas are
based on the lives of Saints and Mahatma Gandhi.

ŚRĪJÑĀNEŚVARACARITAM

This is a Mahākāvya or an epic poem based on the life and teachings of the
Maratha Saint Jñāneśvara, 13th century poet, philosopher and Yogi of the Nāth
Vaiṣṇava tradition. This work opened up a new way of composing epic poems
having Sants as the hero, apart from the conventional types of heroes. The work
comprises of eight cantos. Kṣamā Rāv has also translated this work to English.
Saint Jñāneśvara worked against the evil practices and the prevailing violence in
the society. His pursuits regarding the same are depicted in the work. The work
emphasis on the importance of Vedantic - way of renunciation and encourages
the readers to renounce enjoyments. The titles of each canto are given as -

Pāṇigrahaṇam Pitṛprāṇārpaṇam

Śuddhipatrapraptiniścayaḥ Mahiṣavedaghoṣaṇamṭ

Mahiṣamantroccarāṇaḥ Granthanirmāṇam

Cāṅgadevadarpaharaṇaḥ Samādhipraveśaḥ
The first canto tells about the marriage of Viṭṭhala, the father of Sant
Jñāneśvara. It is also said in the beginning that Sant Jñāneśvara was the
incarnation of Lord Viṣṇu and Viṭṭhala was himself an ardent devotee of the
lord. The second canto tells about the grief of Viṭṭhala and his wife Rukmiṇī for
not having progenies and Viṭṭhala setting forth to Kāśī. His wife who was
overwhelmed with grief meets a Yogin, who says that she will be blessed with
an illustrious children - Nivṛtti, Jñāneśvara, Sopānadeva and Muktā, who will be
left by their parents who sets forth for Sanyāsa. The third canto tells the life of
four siblings - the first two of them deeply indulged in the thoughts of Lord
Viṣṇu and their intellect trained in such a manner that Bhagavadgītā was a part
of their life. The canto ends with the four siblings travelling to Paithan to get
their writ of purification. The fourth canto tells about the children presenting a
writ regarding their ancestry before the council of Brahmanas to get their
Upanayana ceremony done and the Brahmins teasing and talking unpleasantly
towards the children saying that a Sanyasin's son cannot undergo the Upanayana
ceremony. However, the head of the council was keen to help them. Even if the
council disapproved the children undergoing Upanayana, they were still
cheerful as they believed only in Lord Hari. This is followed by a long
philosophical discourse by the children. A miraculous incident of chanting
Vedic hymns to a wounded buffalo, who in turn recites back what has been
whispered in his ears by Jñāneśvara. The fifth canto depicts about Jñāneśvara;s
intellectual pursuits like learning the Bhagavadgītā with Bhāṣya and other
philosophical scriptures. Unlike the conventional way of learning these,
Jñāneśvara learnt these in the view of his own spiritual experiences. This is
followed by the children being given the writ of purification. After that, the
children set forth to Nevasa, where Jñāneśvara saw a woman lamenting with the
corpse of her husband whose name was Saccidānanda, which literally meant -
"Existance, Consciousness and Bliss", which is nothing else but the supreme
reality; the moment these words were uttered, the man got back his life and later
on in his life composed the biography of Jñāneśvara. The same canto also tells
the envy of a Brahmana named Visobha over Jñāneśvara, who later on had to
repent on his cruel deeds. The sixth canto tells about Jñāneśvara, composing the
'Jñāneśvariī' commentary on Bhagavadgītā in Marathi language, in a motive to
emancipate the teachings of lord Krishna, even to women and Śudras. The
seventh canto speaks about Caṅgadeva, who lived for 1400 years and was proud
of his lifespan and Yogic powers, sent a blank letter to Jñāneśvara, curious to
see him. Jñāneśvara wrote sixty five verses as a reply to this, after which
Caṅgadeva visited where the children lived with thousands of disciples. On the
arrival of Caṅgadeva, Jñāneśvara exhibited his Yogic powers, seeing which the
former was astonished and pleaded to reveal the meaning of the sixty five
verses. The eighth canto tells about the composition of 'Amṛtānubhavam', which
brings out the identity of Śiva and Pārvatī through the Advaita Vedānta tenets
and Sant Jñāneśvara's attainment of the eternal abode.

ŚAṄKARAJĪVANĀKHYĀNAM

This is a biographical work based on the life of Paṇḍit Śaṅkar Pāṇḍuraṅga, the
father of Paṇḍita Kṣamā Rāv. This work contains 17 chapters called 'Ullasa'.
This work too was translated by Pandita Kṣamā to English. The following titles
of each Ullāsa depict each of the episodes in the life of Paṇḍit Śaṅkar
Pāṇḍuraṅga -

 Bālyavarṇanam Lokasaṅkaṭanivāraṇam
 Vidyārambhavarṇanam Śankaraprakṛtivarṇanam
 Vidyābhyāsavarṇanam Rajaprakopasamutyāpanam
 Vidyāsamāptivarṇanam Cintāsantānavarṇanam
 Kāvyasaṁśodhanam Śyāmalagirinivāsaḥ
 Śrutipraśaṁsanam Vyākhyānavilāsaḥ
 Dvitīyapāṇigrahaṇam Samājapariṣkaraṇam
  Pracīnalekhagaveṣaṇam Sudhāmapurinivasaḥ
Dīpanirvāṇam

In the preface of the work, Sri Nrisimh Kelkar made a poignant remark that it
was Paṇḍita Kṣamā Rāv, who introduced the new genre of biography to
Sanskrit Literature.

RĀMADĀSACARITAM

This work in thirteen cantos is based on the life of Samartha Rāmadāsa, the
Hindu saint and poet, which was translated to English by Kṣamā herself. The
first canto describes the birth of Saint Rāmadāsa, born as Gaṅgādhara, the son
of Sūryājipant and Reṇūdevī. Saint Rāmadāsa here is portrayed as an
incarnation of Lord Hanumān. The brilliant future that is ahead of him is also
predicted. The second canto tells about his childhood exploits, rest of boyhood
and youth and finally the death of Sūryājipant. The third canto depicts the never
- ending wish for acquiring knowledge, the appearance of Hanumān, who
enlightens Rāmadāsa, his gradual detachment towards worldly affairs and
marriage etc. Fourth canto tells about the persuasion of Rāmadāsa's brother to
Reṇūdevī to let him opt out of marriage. It also tells how Rāmadāsa's mind was
occupied with the episodes of the great epic Rāmayana, in which, Hanumān was
the character who influenced him the most. This is followed by his mother's
persuasion for marriage and Rāmadāsa cleverly escaping from the marriage
arranged by his mother, due to his passion for Lord Rāma. The fifth canto tells
his visit to Pañcavaṭī and shrines of Lord Rāma, the fierce penance, upon which
Lord Rāma appeared and blessed him. It was from then he came to be known as
Samartha Rāmadāsa. The miracles of enlivening a dead man from the funeral
pyre and adoption of the same person's new born son are too described. The son
Uddhava was under the tutelage of Saint Rāmadāsa. The sixth canto tells Lord
Rāma and Hanumān appearing before him and advising to assist Śivājī and the
following Rāmanavamī celebrations, at the end of which again both the deities
appear and direct him to propagate Bhakti. Knowing the social conflicts that
were prevalent, Rāmadāsa resolved to re - establish his faith everywhere. The
seventh canto tells his visit to the famous Viśveśvara shrine in Kāśī, where he
was stopped by the priests, by mistaking him to be a Mleccha, which caused
afterwards, the disappearance of the Liṅga. The priests realizing their mistake
called back the Saint with reverence, after which the Liṅga re - appeared in its
original position. This canto also tells about his pilgrimage to Ayodhyā,
Mathura, Prabhas, Brndaraka, Vrndavana, Dvaraka, Kedarnath, Badri,
Himalayas, Manasarovara, Puri, Ramesvaram and return to Pañcavaṭī after
twelve years. His meeting with Guru Nanak is also detailed. The eighth canto
tells about Rāmadāsa's mother's lamentation on deathbed, for not seeing his son
for twenty four years and about the resurrection of a bird. The ninth canto
speaks of his visit to paternal home, where his mother becomes happy at the
arrival of her son. Later in tenth canto, Lord Rāma appears before Sant and
directs him to visit the banks of Kṛṣṇā, Godāvarī, Mahabaleśvar etc. and assist
Śivājī in procuring sovereignty. It also in length dwells about him meeting Sant
Tukarāma and installation of Lord Rāma's idol in a temple. The eleventh canto
depicts Sant Rāmadāsa accepting Śivājī as his disciple. The twelfth canto tells
about the victory of Śivājī and Rāmadāsa refusing him to accompany, citing the
duty of a king, after which, Śivājī ruled his Maratha Kingdom. The last canto
tells about accounts of bravery and further victory of Śivājī and finally his
death, upon which Sant Rāmadāsa was grief stricken and finally after six
months, his attainment of the heavenly abode of Lord Hanumān.

TUKARĀMACARITAM

This is a Mahakavya in nine cantos. It depicts the life of Sant Tukarāma, the
great saint poet of Maharashtra. His teachings have established permanent
supremacy over the common man in Maharashtra and find a great place in the
work. Some of the lines are reminiscent of well known Sanskrit verses. This
work too, was translated to English by her.

The first canto tells about the story of Viśvaṁbhara, who was Tukarāma's
ancestor and the propritiation of Lord Viṣṇu by penance. The second canto tells
of the birth of Tukarāma, his naming ceremony and marriage. His profession as
a trader, financial loss in the same and envision of the divine Viṣṇu are too
depicted here. Tukarāma is said to be obsessed in the worship of Lord Hari from
then, which makes him negligent towards the unpaid debts. It is followed by the
depiction of Tukarāma's renunciation by leaving his family stranded, wife's
reproaches, Tukarāma agreeing to trade as per his wife's request, and the
unfortunate incident of being cheated in trade by people, which adds to
Tukarāma's financial burden. Seeing his pathetic state, the villagers mock him
by adorning onion - garland and mounting him upon a donkey. The fourth canto
speaks of the famine struck in Tukarāma's village, distress of his family, death
of his wife and son etc. This canto also contains the miraculous happening
where Tukarāma, being negligent in looking after a field from birds become the
cause of destruction of the crops, which was replaced with three times more
quantity of crop, which is clearly a miracle devised by the lord. Fifth canto tells
about the construction of Lord Viṣṇu's temple, Tukarāma's wife's disinterest
towards his actions, miracles made by the lord in his wife's life and other
helpful deeds by Sant. Sixth canto tells of Tukarāma having a meal with Lord
Viṣṇu, who appeared in his dream where he was directed to complete the work
of Nāmadeva. He completed the work in the Abhaṅga metre, which was later
popular as "Abhaṅga hymn". Also, Tukarāma's encounter with a Brahmin called
Cintāmaṇi is depicted. The seventh canto contains Tukarāma's encounter with
another Brahmin named Deshpande. The eighth canto deals again with his
meeting with another Brahmin called Mumbaji and Śivājī. The work ends with
the ninth canto depicting Śivājī's miraculous escape from a Muslim enemy with
Tukarāma's assistance, Tukarāma's Vaiṣṇavaite philosophy and his final
attainment of the lord's abode.

MĪRĀLAHARĪ

This is a Khaṇḍakāvya, published with an English translationin 1944, which

deals with the life of medieval Indian Saint Poetess Mirabai, in 135 verses in the
Sārdūlavikrīdita metre.

SATYĀGRAHAGĪTĀ

Satyāgrahagītā is a historical Mahākāvya in eighteen chapters called 'Adhyāya',

dealing with the life and philosophy of Mahatma Gandhi and his pursuits in the
Indian Independence Movement. All these are detailed in the work beautifully
using Anuṣṭup verses. There are several disputes among scholars whether to
regard this work as a Mahākāvya. Although the plot of Satyāgrahagītā makes it
fit into the category of Mahākāvya. The work was published in 1932 at Paris.

UTTARASATYĀGRAHAGĪTĀ

This is a Mahākāvya which serves as a sequel to the much popular

Satyāgrahagītā, as the title suggests. It tells about the life and philosophy of
Mahatma Gandhi in 1999 verses, spread across forty seven chapters. Kṣamā
took up Gandhiji's challenge of composing his biography in Sanskrit and
completed the work in five months time.

SVARĀJYAVIJAYAḤ

This work comprises of fifty four cantos depicting the entire episode of Indian
Independence struggle, emphasizing on Mahatma Gandhi's pursuits in attaining
the same. The work begins with the depiction of Non- Cooperation movement
initiated by Gandhiji and ends with the depiction of Gandhiji's assassination.

VICITRAPARIṢADYĀTRĀ
This work deals with Kṣamā Rāv's visit to Thiruvanantapuram for attending All
India Oriental Conference. An interesting portrayal of experience of her travel
towards far south, it is the touch of female discourse that makes it unique. The
importance of Sanskrit language is highlighted through the following verses -

" सं कृताधीितनः स तु सव भारतभिू मजाः ।

सं कृ तेनैव कुव तु यवहारं पर परम् ॥
सं कृत ानमासा सं कृताचारवृ यः ।
सवतः सं कृ तीभयू सुिखनः स तु सवदा ॥"

CONCLUSION

Paṇḍita Kṣamā Rāv is the greatest of the poetesses in Sanskrit. Her

contributions to literature as well as the society are worth appreciating. Her
metrical works deserve an important place among the recent compositions in
Sanskrit literature. She is perhaps the first person to introduce the genre of
biography to Sanskrit Literature. The biographical works are based on the lives
of the Sants of Maharashtra, where the sentiment of Bhakti is evident. Those
biographies by her comprises of miraculous incidents in the lives of the Sants,
which add further splendour. All he biographies based on Sants include the
discourses on philosophy, according to tge Bhakti cult, especially the
Vaisnavaite Vedanta philosophy. Her force of diction and style of composing
poems too deserve a great place in Sanskrit literature. We come to know all
these through the powerful writings of Paṇḍita Kṣamā, the importance of
nationalism, patriotism and women empowerment. Most of her works have
tragic ending, melancholy being reflected throughout.

REFERENCES
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