The Saint as Revealer and Propagator: Understanding Some Key Terms in the Caritas of Sankaradeva

It is very important that we acquaint ourselves with the precise words used by the biographers of Sankaradeva if we are to make any serious study of the Sankaradeva movement. These are the key terms of the literature. Certain passages from the caritas are invaluable in this respect. The following passage from Daityari, for instance:

বিচাৰ কৰিয়া পাছে ভাগৱত গ্ৰন্থ |
কৰিলন্ত শঙ্কৰে প্ৰকাশ ভক্তি-পন্থ || ৩২ ||
হৰিত ভকতি আবে কৰিবে প্ৰবন্ধ |
প্ৰথমতে কৰিলন্ত কীৰ্ত্তনৰ ছন্দ ||
অনন্তৰে কিছু লোকে ভকতি ধৰিল |
তেবে আনো নানাবিধ ছন্দ নিৰুপিল || ৩৩ |
কতো গীত পদ কতো ভট্টিমা চপয় |
কথা শ্লোক আদি কৰিলন্ত মহাশয় ||
নিজ কৃপাগুণে লোক তাৰিবাক মনে |
প্ৰচাৰিলা ভক্তিধৰ্ম্ম তাৰিবাক মনে[1] || ৩৪ ||

Then, examining the contents of the Bhagavata,
Sankara revealed the path of bhakti. [32]
Endeavouring, now, for bhakti to Hari,
he first composed the verses of kirttana.
In the course of time, some persons embraced bhakti.
Then he laid down more metres of diverse kinds. [33]
Some were gitas, padas, some bhattimas, capayas.
Kathas, slokas and others the great-minded one did compose.
Moved by his own compassionate nature, with a view to save the people,
he propagated bhakti-dharma (the religion of devotion). [34]
(Daityari, pp.20)

This passage is, of course, of great biographical value. It speaks of the efforts made by the Saint to propagate the message of devotion through various literary means. The caritakara seems to have reproduced a certain image of Sankaradeva etched in the minds of the members of the early (oral) carita tradition. It is the image of the poet-saint or rather the poet-propagator.

Sankaradeva, Daityari tells us, embarked on his mission of propagating bhakti to Hari among the people by first composing the verses of kirttana (prathamate karilanta kirttanara canda). It is not clear whether the term kirttana in the passage refers to the verses contained in the Saint’s Kirttana Ghosa or is used more generally. It is apparent that Sankaradeva employed a wide range of metres (nanabidha canda) in his (verse) compositions and that he also wrote in various forms such as song (gita), verse (indicated by the term pada), prose (katha) and (the Sanskrit) sloka.

But more than its biographical value, this passage is perhaps more significant on account of two important terms contained in it—terms which are key to understanding the position of Sankaradeva in relation to the Eka-Sarana faith, in the eyes of its followers. Do the followers of the faith view Sankaradeva as the creator of a new religion? The answer is found in these terms of the passage (highlighted in bold in the translation above).

Daityari says that Sankara, examining (bicara kariya) the contents of the Bhagavata, revealed the path of bhakti (karilanta sankare prakasa bhakti-pantha). The specific word used is prakasa which, in this context, would translate into ‘revealed’ or ‘brought to light’. Thus, Sankaradeva has only revealed or brought to light (and not created) the path of bhakti. Further, he has not only revealed the path of bhakti but also propagated it (pracarila bhakti-dharma, v. 34). The word pracara would indicate ‘propagation’, ‘spreading’ or ‘dissemination’ of the message of bhakti.

Sankaradeva is thus, in the caritakara’s view, the revealer as well as the (first) propagator of the religion of devotion. He may have created (karilanta) the verses of kirttana and laid down (nirupila) various metres—perhaps even devised new literary forms—but when it comes to the path itself, he has done only its prakasa and pracara. In short, he has created the medium, but not the message.

Understanding the passage in the light of these key terms also enables us to better appreciate the systematic approach of Sankaradeva which the caritakara, it seems, wants us to understand. First, Sankaradeva reveals the path of bhakti by examining the contents of the Bhagavata and then he proceeds to the next logical step of his mission which is the propagation of this message. A slow re-reading of the passage given above at this point might enable one to comprehend this subtle shift more easily:

...examining the contents of the Bhagavata,
Sankara revealed the path of bhakti. [32]
Endeavouring, now, for bhakti to Hari,
he first composed ...

Propagation is following revelation and it is in this perspective that the rest of the passage must be understood. The Saint must now assume the role of a spreader or broadcaster and for that, he would require a medium. This medium he can now create. The revealed message (of devotion) is now given out through songs and verses, poetry and prose; there is the efflorescence of varied literary forms—
all for the purpose of spreading the message.

However, one would not do so—i.e. assume the role of a propagator—if one were not seriously concerned about the plight of the people of the world; one would have felt no need of doing so if one were not truly and fully compassionate as Sankaradeva is. It is this fully compassionate nature of the Saint (nija krpagune) that motivates him to propagate his own discovery among the masses ‘with a view to save the people’ (loka taribaka mane) and take the revelation to its logical conclusion. After all, what is information without dissemination? And it is this point and higher purpose that the caritakara highlights in the final lines of the passage.

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[1] The Candrakānta abhidhāna defines the words প্ৰবন্ধ and কতো as, among others:
প্ৰবন্ধ: চেষ্টা কৰ্; to exert; to endeavour. ক্ৰি. বিণ. প্ৰবন্ধে চেষ্টা কৰি; শ্ৰম কৰি; যত্নেৰে (পু. অ.);
কতো, কতোহো: (পু. অ.) বিণ. বিবিধ; কত কি; হৰেক ৰকমৰ। 2। কিছুমান। 3। কোনোটো; কেতবোৰ।

http://dsal.uchicago.edu/dictionaries/candrakanta/

The Caritas as a Continuation of an Oral (Historical) Tradition: Analysis of Two Passages from Bhusana and Daityari

What are the exact words used for ‘holy men’ in the passage above? Are they identical in meaning to mahantas and mahajanas in Daityari’s passage? The words ‘holy men’ appear there too: ‘the holy men discuss [this tale] in various ways [versions].’

Could the meaning of the epithet srimanta, in the context of the sentence above, be made more clear?

It is interesting to note that, as in Daityari, the caritakara has referred to an oral tradition of the carita. Daityari refers to ‘holy men’ discussing the Guru’s tale (katha) in ‘various ways.’ So also, Bhusana says: ‘all the great pandits used to recount this tale to others joyfully.’ A lively tradition is indicated.

Both the caritakaras—Daityari and Bhusana—were, it seems, witness to this oral tradition. Both are now going to put facts, hitherto only transmitted orally, into writing. Daityari says that he has—possibly at the instance of some of the participants of these carita sessions (‘carrying out their word’) themselves—put it down in the same form in which he has heard it from the Mahantas. This would further imply that either Daityari himself was also a participant—as a listener—in this oral tradition or that he was provided with the facts relating to the Saint’s life, recounted at these carita sessions, by other participants [senior to him]. It should be noted, however, that Daityari does not say that he was ordered—in the literal sense of the term—to compile a (written) carita by any particular Mahanta. He only says that he was asked [possibly requested] by some Mahajanas to put the tale (katha) to verse. At this point, at least, he does not name any person.

In the case of Bhusana, there is a fond reminiscence of the oral tradition. ‘Previously’, says Bhusana, ‘all the great pandits used to recount this tale to others joyfully’. But all of them have reached the abode of vaikuntha and now, ‘who recounts these tales (kathā)?’ We should note that, unlike Daityari (in the passage in question), Bhusana is not-at least in this passage-carrying out the word of the Mahajanas. His motivation seems to be based purely on his own inner urge to recount—record, rather—the life and deeds of the Guru before these facts fade away from the devotees’ collective memory. Unlike Daityari, he does not refer to ‘holy men’ [still] discussing the tale in ‘various ways.’ Nor is there any statement to the effect that he [himself] has ‘heard it from the Mahantas.’ Instead there is commitment that he, the caritakara, will put down ‘whatever comes to mind’ by the grace of the ‘holy men’. 

From these two passages, it would be correct, perhaps, to view the (written) carita as a particular recension of the original, oral, carita tradition.

The Caritakara's Salutation: Prefatory Lines from Bhusana Dvija's Carita

The manuscript begins with salutations to Sankaradeva and Krsna (sri sankarāya namah and sri krsnāya namah).

The caritakāra, first paying obeisance at the feet of Krsna, declares that incarnating Himself as Sankara, it is Lord Hari Who propagated His own guna, karma and yasa, listening to which the people survive this unsurvivable (dustara) world in the age of kali. The carita of Sri Sankara is the nemesis of evil (pāpa antaka), and Bhusana, foolish and devoid of jnāna, is going to narrate it in metrical form (pada bandhe). Descending into this world, the Saint exhibited his various divine sports (kridā) to the people. He composed the Bhāgavata in verses and [now] even the ‘lowest of the low’ (antyajas), reading it and understanding its meaning, hold Sankara as their guru and worship Mādhava. All people have achieved happiness by taking to devotion to Lord Hari (hari-bhakti) and it is on account of this that the Saint has come to be known as Srimanta Sankara. Whoever has the capacity (sakati) to narrate in full all the details relating to his qualities (guna) and glory (mahimā)? The caritakāra, remembering the favor of Krsna, will put down whatever comes to mind by the grace of the holy men. Previously, all the great pandits used to recount this tale to others joyfully. But, with time’s passage, all of them have reached the abode of vaikuntha and now, who recounts these tales (kathā)? Therefore, this necessity has fallen on the caritakāra.

The Source and Motivation of the Caritakara: Analysis of a Passage from Daityari

Sometimes in the middle of the carita, the biographer mentions the motivation behind his undertaking to write about the Saints. For instance, Daityari (pp. 154):

Listen, O saintly people! Folding my hands, I say these words to you; forgive me for any chronological fault that might occur.

If something deviates, then do not ascribe any fault to me, know that the holy men discuss [this tale] in various ways [versions].

I have put it down in the same form in which I have heard from the Mahantas, do not find fault with me.

And if anything remains [to be told], then also do not criticize me; you all discuss it in the proper manner yourselves.

Some Mahajanas said to me: “You inscribe the facts of the two Mahapurusas.”

Some [other] Mahajanas joyfully said,

“You put it in verse so that it is great to read.”

Carrying out their word, I am rendering [this tale] in verse-form; please do not find fault with me on this, with folded hands I say.

Thinking of one’s own welfare, O saintly men, keep repeating the name of Madhava and Sankara at regular intervals.

From passages such as these, it appears that the caritas such as the one referred to above were written by the biographers (caritakaras) at the request of the Mahajanas. Further, the source of the caritakara was the Mahanta. Daityari clearly mentions that he has written whatever he has heard from the 'Mahantas' mouth' (mahantara mukhe). The facts relating to the two Mahapurusas (Sankaradeva and Madhavadeva) are referred to simply as katha.

One more fact which emerges from the passage is that the caritakara seems to acknowledge the presence of multiple versions of the katha. That is what seems to be suggested when Daityari says that 'the holy men discuss in various ways' (nanana prakare jana carcce sadhu loka). The expression nanana prakare taken literally would mean 'various ways' of recounting the biography of the Saints. But the context seems to suggest 'various versions'.

What is the meaning of the words mahajana and mahanta in the passage above? Are these terms encountered frequently in the literature? In what sense are these terms employed in the passage in question? Do they refer to some specific personalities?