Mahākāvya (lit. great kāvya, court epic), also known as sargabandha, is a genre of Indian epic poetryinClassical Sanskrit. The genre is characterised by ornate and elaborate descriptions of scenery, love, battles and so on — in short, everything that tests a poet's skill at description. Typical examples of mahākāvya are the Kumarasambhava and the Kiratarjuniya.
It is considered the most prestigious form in the Sanskrit literature.[weasel words] The genre evolved from the earlier epics, the Mahabharata and the Ramayana. Despite the length of mahākāvyas (15-30 cantos, a total of about 1500-3000 verses), they are still much shorter than the Ramayana (500 cantos, 24000 verses) and the Mahabharata (about 100000 verses).[citation needed]
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The Buddhist poet and philosopher Aśvaghoṣa (c. 80 – c. 150 CE) is one of the earliest Sanskrit poets with surviving Kāvya literature. His Buddhacarita (Acts of the Buddha) calls itself a mahākāvya and was influential enough to be translated into both Tibetan and Chinese.[1] Another kāvyabyAśvaghoṣa is the Saundarananda, which focuses on the conversion of Nanda, Buddha's half-brother.[2][3]
Tradition identifies five works as model mahākāvya:
To this list, sometimes a sixth one is also added.
In the mahākāvya genre, more emphasis was laid on description than on narration. Daṇḍin's Kāvyādarśa lists the traditional characteristics of a mahākāvya as:[4][5]
About this list, Ingalls observes:[6]
These are not random suggestions but specific requirements. Every complete mahākāvya that has come down to us from the time of Kalidasa contains the whole list, which, if one considers it carefully, will be seen to contain the basic repertory of Sanskrit poetry. Contained in it are the essential elements of nature, love, society, and war which a poet should be able to describe. The great kāvya tested a poet by his power of rendering content, which is a better test at least than the Persian diwan, which tested a poet by his skill at rhyme.
It is composed of a varying number of short poems or cantos, that tells the story of a classical epic. Each poem is composed in a metre that is fitting to the subject matter, such as a description of the seasons, a geographical form of nature such as a mountain, and cities.[7]
In the relatively secluded world of modern Sanskrit literature, mahakavyas continue to be produced. Some of these have been awarded the Sahitya Akademi Award for Sanskrit. In the introduction to Ṣoḍaśī: An Anthology of Contemporary Sanskrit Poets (1992), Radhavallabh Tripathi writes:
On the other hand, the number of authors who appear to be very enthusiastic about writing in Sanskrit during these days is not negligible. […] In a thesis dealing with Sanskrit mahākāvyas written in a single decade, 1961–1970, the researcher [Dr. Ramji Upadhyaya] has noted 52 Sanskrit mahākāvyas (epic poems) produced in that very decade.[8]
Some modern mahākāvyas do not aim to satisfy all the traditional criteria, and take as their subject historical matter (such as Rewa Prasad Dwivedi's Svatantrya Sambhavam on the Indian independence movement, or K.N. Ezhuthachan's Keralodayah on the history of Kerala), or biographies of historical characters (such as S.B. Varnekar's ShrishivarajyodayamonShivaji, M. S. Aney's SritilakayasornavahonBal Gangadhar Tilak, or P. C. Devassia's KristubhagavatamonJesus Christ). Some others like the Śrībhārgavarāghaviyam (2002) composed by Jagadguru Rāmabhadrācārya continue to have the subject of the traditional epics.