Art-Culture

Literature of Rajasthan

“Literature in Rajasthan” means all the literature works that has been created within geographical boundary of Rajasthan from start of time till now.

The Rajasthani literature written in various genres but, it is generally agreed that modern Rajasthani literature began with the works of Surajmal Mishran. His most important works are the Vansa Bhaskara and the Vir Satsai. The Vans Bhaskar contains accounts of the Rajput princes who ruled in what was then Rajputana (at present the state of Rajasthan), during the lifetime of the poet (1872–1952). The Vir Satsai is a collection of hundreds of couplets.

Medieval Rajasthani literature is mostly poetry only and it is more about the heroic poetry mentioning of the great kings and fighters of the Rajasthan as said by Rabindra Nath Tagore once, “The heroic sentiment which is the essence of every song and couplet of a Rajasthani is peculiar emotion of its own of which, however, the whole country may be proud”.

Rajasthani literature is created by mostly Charans Earlier Rajasthani was known as Charani (or dingal), which was close to Gujarati. As a result, it includes Sanskrit, Prakrit, Rajasthani, Hindi and other Language works.

History of Literature in Rajasthan includes:

 1. Sanskrit & Prakrit Literature

 2. Rajasthani Literature

  1. . Early Period (1100-1450)
  2. Medieval Period (1450-1850)
  3. Modern Period (1850-)

 3. Hindi Literature

 1. Sankrit & Prakrit Literature of Rajasthan:

The literature history of Rajasthan goes back to 1500 years and ancient astronomer and mathematician Brahmagupta belonged to Bhinmal (jalore) town composed Brahsfut Siddhanta.

  1. Poet Magha, who also belonged to Bhinmal and wrote Shishupal Vadh
  2. Hari Bhadra Suri of Chittor wrote Samaraichcha katha
  3. Udhyotan Suri wrote Kuvalaya Mala partly in Prakrit & partly in Aprabransh in 779 A.D
  4. Siddha Rishi wrote Upmiti Bharva Prancha Katha
  5. Vigrah Raj Chauhan-IV of Ajmer wrote drama named Harkaili
  6. Somdeva, poet of Court of Vigrah Raj, wrote drama Lahit Vigrah Raj
  7. Court poet of Prithviraj Chauhan- III wrote Prthvi Raj Vijay
  8. Maharana Khumbha wrote treatise of Jai Deva’s Geet Govinda and a book on musicology – Sangeet Raj.

The Sanskrit language is divided into the Vedic and the classical. The great epics, the Ramayana and the Mahabharata and the Puranas are part of the classical period, but are discussed separately because of their enormity and importance, and are undoubtedly the precursors of Sanskrit Kavya (epic poetry), natak (drama) and other literature.

  • Classical Sanskrit literature includes the Kavya (epic poetry), the Natak (drama), lyric poetry, romance, popular tales, didactic fables, gnomic poetry, scientific literature on grammar, medicine, law, astronomy, mathematics, etc.
  • Classical Sanskrit literature is on the whole secular in character. During the classical period, language was regulated by the rigid rules of Panini, one of the greatest Sanskrit grammarians.

The tallest figure in the sphere of epic poetry is Kalidasa (A.D. 380-A.D. 415). He wrote two great epics, Kumarasambhava (the birth of Kumar), and Raghuvamsa (the dynasty of the Raghu’s). In the Kavya tradition, more care is bestowed on the form, such as the style, figure of speech, conceits, descriptions etc. and the story-theme is pushed to the background. The overall purpose of such a poem is to bring out the efficacy of a religious and cultured way of life, without flouting any ethical norms. Other distinguished poets, like Bharavi (550 A.D.), wrote Kiratarjuniyam (Kirat and Arjun) and Magha (65-700 A.D.) wrote Sishupalavadha (the killing of Shishupal).

The main purpose of Kavya or even Natak (drama) is to offer the reader or spectator diversion or entertainment (Lokaranjana) and also stimulate his feelings and ultimately give him a perspective to illuminate his vision of life. The drama is therefore stylized and is packed with poetry and descriptive prose. It moves on a level of worldliness as well as on another level of other-worldliness. Therefore, the symbolism of Sanskrit drama reveals that man’s journey is complete when he moves from attachment to non-attachment, from temporality to eternity, or from flux to timelessness. It is achieved in Sanskrit drama by arousing Rasa (theatrical experience or aesthetic sentiment) in the minds of the spectators. The rules and prescriptions regarding performance, the theatre hall, acting, gestures, Rasa, stage direction, are all given in the first book of dramaturgy, Natyashastra, by Bharata (1st century B.C.-1st century A.D.). Kalidasa is the most distinguished dramatist and his treatment of the rasa of love in all its possible manifestations in the three plays Malavikagnimitram (Malavika and Agnimitra), Vikramorvasiya (Vikram and Urvashi) and Abhigyana Shakuntala (the recognition of Shakuntala) is unparalleled. He is the poet of love and beauty, and believes in the affirmation of life, the joy of which lies in pure, sacred and ever-widening love.

The Mrichhakatika (the clay-cart) by Shudraka (248 A.D.) presents a remarkable social drama with touches of grim reality. The characters are drawn from all strata’s of society, which include thieves and gamblers, rogues and idlers, courtesans and their associates, police constables, mendicants and politicians. In Act III an interesting account of a burglary is given in which stealing is treated as a regular art. The interlinking of a political revolution with the private affairs of the two lovers adds new charm to the play. The 13 plays of Bhasa (4th century B.C.-2nd century A.D.), which were discovered at the beginning of the 20th century are accepted as the most stagable plays of Sanskrit theatre. The most popular is Swapnavasavadatta (Vishakadatta in dream) where the playwright has displayed his skill of characterization and a fine manipulation of the plot. Bhavabhuti (700 A.D.), another great dramatist, is well known for his play Uttara-Ramacharitam (the later life of Rama), which contains a play within it in the last act of a love of exquisite tenderness. He is also well known for directly rebuking his critics by saying that his work was not intended for them, and that some kindred soul would surely be born; time is endless and the earth broad. These are some of the best dramas out of more than six hundred written during that period.

Sanskrit literature is replete with lyrical poetry of great merit. This poetry constitutes a fusion of erotic and religious sentiments. In fact, division between art and religion in Indian culture seems to be less sharp than in Europe and China. In Kalidasa’s narrative lyric poem, Meghaduta (the cloud messenger), the poet makes a cloud a messenger to tell the story of two lovers who are separated. This is also quite in keeping with the sublime conception of love, which looks dark in separation, like a black cloud with a silver lining. Jayadeva (12 century A.D.) is the last great name in Sanskrit poetry, who wrote the lyric poetry Gita-Govinda (the song of Govinda) to describe every phase of love between Krishna and Radha – longing, jealousy, hope, disappointment, anger, reconciliation and fruition – in picturesque lyrical language. The songs describe the beauty of nature, which plays a prominent part in the description of human love.

The didactic fable Panchatantra (five chapters), dealing with politics and practical wisdom, which was written by Vishnu Sharma, and the Hitopadesha, the bird, animal-human and non-human stories of advice for the benefit of the listeners, which was written by Narayan Pandit, are literary masterpieces which cross the borders of the sub-continent and became popular in foreign lands. These books of fables also indicate that the whole of Sanskrit literature was just not religious or elitist. These popular fables are obviously a retelling of folklore.

Literature in Pali and Prakrit

Pali and Prakrit were the spoken languages of Indians after the Vedic period. Prakrit in the widest sense of the term was indicative of any language that in any manner deviated from the standard one, i.e. Sanskrit. Pali is archaic Prakrit. In fact, Pali is a combination of various dialects. These were adopted by Buddhist and Jain sects in ancient India as their sacred languages. Lord Buddha (500 B.C.) used Pali to give his sermons.

  1. All the Buddhist canonical literature is in Pali which includes Tipitaka (threefold basket).
  2. The first basket, Vinaya Pitaka, contains the monastic rules of the Order of Buddhist monks.
  3. The second basket, Sutta Pitaka, is the collection of the speeches and dialogues of the Buddha.
  4. The third basket, the Abhidhamma Pitaka, elucidates the various topics dealing with ethics, psychology or theory of knowledge.
  5. The Jataka Kathas are non-canonical Buddhist literature in which stories relating to the former births of the Buddha (Bodhi-sattva or the would-be Buddha) are narrated.
  6. These stories propagate Buddhist religious doctrines and are available in both Sanskrit and Pali.
  7. As the jatakas tales grew in bulk, they assimilated popular tales, ancient mythology, stories from older religious traditions, etc. Jatakas are, in fact, based on the common heritage of the Indian masses.
  8. Buddhist literature is also abundantly available in Sanskrit, which includes the great epic Buddhacharita by Asvaghosha (78 A.D.).

Like the Buddhist stories, the Jain tales in general are didactic in character. They are written in some forms of Prakrit. The word Jain is derived from the root ji (to conquer) and signifies the religion of those who have conquered the lust for life. Jain canonical literature by Jain saints, as well as a large number of works on lexicography and grammar by Hemachandra (1088 A.D.) is well known. Much also in the way of moral tale and poetry are to be found. However, Prakrit is well known for Gathasaptashati (700 verses) by Hala (300 A.D.), the best example of erotic literature. It is a compilation of 700 verses along with own contribution of 44 poems.

  • It is interesting to note that quite a few poetesses like Pahai, Mahavi, Reva, Roha and Sasippaha are included in the anthology.
  • The vast Katha (story) literature of Prakrit, written with a conspicuous religious overtone, even by Jain saints, is full of erotic elements.
  • The author of the Vasudeva Hindi ascribes this changed approach of the Jain authors to the fact that it is easy to teach religion cloaked by erotic episodes, like sugar-coated medicine.
  • The characteristic of Prakrit poetry is its subtlety; the inner meaning (Hiyaali) is its soul.
  • Jain literature is available in Sanskrit too, like the Upamitibhava Prapancha Katha of Siddharasi (906 A.D.).
  • Rajasthani Literature

Rajasthani Literature dates back to the 11th century, with development of Maru-Gurjari as language in early 11th century. On basis of time Rajasthani Literature can be divided into:

On the basis of distinct forms Rajasthani Literature can be divided into:

  1. 1. Rajasthani Jaina Literature
  • 2. Rajasthani Charan Literature
  • 3. Rajasthani Saint Literature
  • 4. Rajasthani Folk Literature

Now, we shall first discuss in detail, Rajasthani Literature division on basis of time.

 1. The Early Period of Rajasthani Literature (1100 -1450)

Bharatvarsh war Bahubali Ghor written by Vijrasen Suri

  • Bharateshwar Bahubali raas authored by Shalibhadra Suri
  • Jiyadarya Raas by Asig
  • Padmavati Chaupai by Jinprabha Suri
  • Stulibhadra Phag by Hemraj
  • Gyan Manjari by Vijhana
  • Prithviraj Raso by Chandbardai – 12th Century
  • Achaldas Khichi ri Vachanika by Gadan Shivdas
  • Visaldeo raas by Narpati Nath
  • Ranmall Chanda by Shridhan

2. The Medieval Period of Rajasthani Literature (1450-1850)

The medieval period of Rajasthani Literature starts from 1450 and continues till 1850. The period is considered as Golden age of Rajasthani Language and literature based on the amount and variety of text written.

1455 – Padmanabh wrote Kanhadade Prabandh – regarded as the link between Gujarati and separated Rajasthani. The work is considered as an encyclopedia of life in Rajasthan during those times.

  • 1473 – Dhola Maru ra Doha was composed by Kallol.
  • 1481- Bhandari Vyas – wrote Hammirayan
  • 1568 – Buddhi Raso written by Jallah
  • 17th  Century – Khuman raso written by Dalpat
  • 17th  Century – Binhai raso written by Mahesdas
  • Halan Jhalan ra Kundaliya written by Baraith Isardas.

3. The Modern Period of Rajasthani Literature (1850-1950)

This includes literature works in Rajasthani after 1850. The main difficulty in surveying Rajasthani Literature is that a large number of literary works have remained unpublished.

  • The traditional heroic poetry consisting of Kavya & Raso declined by end of 18th
  • In middle of 19th century, Surya Mal Mishran of Bundi (also called as Bhushan of Rajasthan) attempted to revive heroic poetry and wrote Vansh Bhaskar & Veer Satsai.
  • Another great poet of the same period was Ramnath Kaviya of Alwar who wrote Draupadi Vinaya & Pabuji ra Soratha.
  • Another poet a champion dadupanthi scholar Swarup Das wrote Pandava Yashendu Chandrika.
  • Maharaja Chatur Singh translated Geeta, Patanjali’s Yogasutra into Mewari language.
  • Atyudhan Mahariya also wrote Veer Satsai
  • Chandra Singh wrote Kah-Mukrani & the famous book – Badli in 1940.
  • Meghraj Mukul composed poem Sainani.