Synopsis (Beginning only) of Bhūṣaṇa's "Śrī Śrī Śaṅkaradeva"

Śrī Śrī Śaṅkaradeva
Bhūṣaṇa Dbija
Edited and published by Sri Durgadhara Barakataki
Jorhat, 1925.

The manuscript[1] begins with salutations to Sri Sankara (śrīśaṅkarāẏa namaḥ) and Sri Krsna (śrīkṛṣṇāẏa namaḥ).

The caritakāra, first saluting reverentially at the feet of Krsna, declares that descending on earth in the form of Sankara, it is Lord Hari himself who propagated (pracāra) his own ‘qualities, deeds and glory’ (guṇa, karmma, yaśa), listening to which the people cross the uncrossable saṃsāra.[2] He (Sankara) has made well-known (bidita) Krsna alongwith nāma dharmma and the people now, with great happiness (mahā sukhe), ‘obtain redemption’ (tare) in the uttermost age of kali.[3] The carita of Sri Sankara is the ‘nemesis of sin’ (pāpara antaka),[4] and Bhusana, foolish and devoid of jñāna, is going to narrate it in metrical form.[5]
 
Taking birth into this world, Sankara showed to the people various ‘divine sports’ (krīḍā). He composed (nibandhilā) the Bhāgavata in verses (pada bandhe)[6] and now, even the ‘lowest of the low’ (antyajas), reading it and understanding its meaning (artha), ‘do pure devotion’ (bhaje) to Madhava, regarding Sankara as their guru.[7] All humans have achieved (the supreme) happiness taking to ‘devotion to Hari’ (hari-bhakti) and it is on account of this fact that the saint is named Śrīmanta Śaṅkara.[8] Which person has got the capacity to narrate in full all the details pertaining to his qualities (guṇa) and powers (mahimā)?[9] The caritakāra will reveal whatever comes to mind ‘by the grace of the pure devotees of God’ (sādhu prasādata), remembering the favor (kṛpā) of Krsna.[10] Previously, all great paṇḍitas that lived used to discuss this tale (kathā) amongst themselves joyfully.[11] But, at the end of their lives, all of them reached Vaikuntha and now, who speaks these tales anymore?[12]
 

In this manner, the caritakara has given the justification (praẏojana)[13] for writing this biography of Sankara. He desires to save the tale of Sankara from becoming lost forever and therefore he has written this carita to record and preserve these facts, hitherto circulated only orally, in the written (verse) form.

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[1] Inserted into the printed edition is what appears to be a painting of Sankaradeva and his disciples, presumably from the manuscript of the carita. The striking aspect about this representation is that the saint is depicted as a Mughal emperor (Shah Jahan?), in full Mughal regal attire, reclining on his gaddi and holding a rose in one hand, and speaking to two of his disciples who are portrayed as courtiers of the Mughal court. Although the full details relating to this painting—the editor makes no mention of it in the preface—could not be obtained owing to the copy in possession with this author being a very low-resolution, monochromatic one, the scene in question perhaps is an imaginative portrayal of Sankaradeva bestowing his dharma rajya on Madhava, his spiritual successor. This is not conclusive, however.

[2] V. 2.

[3] V 3.1.

[4] V. 4.1.

[5] V. 3.2.

[6] V. 4.2.

[7] V. 5.1.

[8] V. 5.2.

[9] V. 6.1.

[10] V. 6.2.

[11] V. 7.1.

[12] V. 7.2.

[13] V. 8.1.

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.

Sankaradeva Preached 'kevala bhakti'

Sankaradeva preached kevala bhakti-pure, exclusive devotion (Bhusana, pp. 213; 866)-discarding other forms of bhakti. It seemed to indicate a departure from those forms of bhakti which were largely based on the ceremonial worship (puja) [of idols (murtti) of the deity]. It was a source of great consternation among the ritualists (dharmi). 

At this point, a discussion of the major forms of worship might help to clarify matters. Comparison may be made, for instance, between the traditional forms of 'Vaisnava' worship through pujas, etc.which seemed to exist in some form even prior to Sankaradeva, and the bhaktic redefinition of the nature of the relationship between man and God , touching upon the immanent aspect, which formed the cornerstone of Sankaradeva's philosophy of Eka-Sarana.