Changes

It has been rightly pointed out, on inscriptional evidences, that Mādhavācārya, the elder brother of Sāyaṇa, is different from Mādhava, another minister of Bukka I (hence known as Mādhava Mantrin or Amātya Mādhava) who was not only a profound Upaniṣadic scholar (called in the inscriptions as upaniṣanmārgapravartakācārya (उपनिषन्मार्गप्रवर्तकाचार्य)) but was, as a warrior of no mean order, the expeller of Mohammedans from Konkaṇa and the governor of Goa and Banavase provinces. Kāne is amply justified in his appreciative remarks on our author when he says that<blockquote>"

It has been rightly pointed out, on inscriptional evidences, that Mādhavācārya, the elder brother of Sāyaṇa, is different from Mādhava, another minister of Bukka I (hence known as Mādhava Mantrin or Amātya Mādhava) who was not only a profound Upaniṣadic scholar (called in the inscriptions as upaniṣanmārgapravartakācārya (उपनिषन्मार्गप्रवर्तकाचार्य)) but was, as a warrior of no mean order, the expeller of Mohammedans from Konkaṇa and the governor of Goa and Banavase provinces. Kāne is amply justified in his appreciative remarks on our author when he says that<blockquote>"

''‘as an erudite scholar, as a far-sighted statesman, as the bulwark of the Vijayanagara Kingdom in the first days of its foundation, as a Sanyāsin given to peaceful contemplation and renunciation in old age, he led such a varied and useful life that even to this day this is a name to conjure with’.''</blockquote>

''‘as an erudite scholar, as a far-sighted statesman, as the bulwark of the Vijayanagara Kingdom in the first days of its foundation, as a Sanyāsin given to peaceful contemplation and renunciation in old age, he led such a varied and useful life that even to this day this is a name to conjure with’.''"</blockquote>

=== Bhoganātha ===

=== Bhoganātha ===

Sāyaṇa had a very high opinion about the poetic excellence of his brother’s kāvyas as he mentions in one place in his Alaṅkāra work that the examples of the rules have to be sought for in the works of Bhoganātha [teṣāmudāharaṇāni bhoganāthakāvyeṣu draṣṭavyāni (तेषामुदाहरणानि भोगनाथकाव्येषु द्रष्टव्यानि)]. That Bhoganātha wielded a facile poetic pen will be evident to the students of Sanskrit poetry from the following beautiful verses in praise of his patron Saṁgama II:—<blockquote>"

Sāyaṇa had a very high opinion about the poetic excellence of his brother’s kāvyas as he mentions in one place in his Alaṅkāra work that the examples of the rules have to be sought for in the works of Bhoganātha [teṣāmudāharaṇāni bhoganāthakāvyeṣu draṣṭavyāni (तेषामुदाहरणानि भोगनाथकाव्येषु द्रष्टव्यानि)]. That Bhoganātha wielded a facile poetic pen will be evident to the students of Sanskrit poetry from the following beautiful verses in praise of his patron Saṁgama II:—<blockquote>"

''यस्य दृष्टिमुद्दयद्दयारसामर्थिनामभिमतानुबन्धिनीम् ।''</blockquote><blockquote>"

''यस्य दृष्टिमुद्दयद्दयारसामर्थिनामभिमतानुबन्धिनीम् ।''"</blockquote><blockquote>"

''हन्त नूनमनुयान्ति सस्पृहं कर्णकल्पतरुकामधेनवः ॥ (9)''</blockquote><blockquote>"

''हन्त नूनमनुयान्ति सस्पृहं कर्णकल्पतरुकामधेनवः ॥ (9)''"</blockquote><blockquote>"

''yasya dṛṣṭimuddayaddayārasāmarthināmabhimatānubandhinīm |''</blockquote><blockquote>"

''yasya dṛṣṭimuddayaddayārasāmarthināmabhimatānubandhinīm |''"</blockquote><blockquote>"

''hanta nūnamanuyānti saspṛhaṁ karṇakalpatarukāmadhenavaḥ ||''</blockquote><blockquote>"

''hanta nūnamanuyānti saspṛhaṁ karṇakalpatarukāmadhenavaḥ ||''"</blockquote><blockquote>"

</blockquote><blockquote>"

"</blockquote><blockquote>"

''यद्‍यशःप्रसरणेन भूयसा ह्लादमेयुषि परं जगत्त्रये ।''</blockquote><blockquote>"

''यद्‍यशःप्रसरणेन भूयसा ह्लादमेयुषि परं जगत्त्रये ।''"</blockquote><blockquote>"

''अश्नुते विफलतां न चन्द्रमाः केवलं कुमुदिनीविकाशनात् ॥''</blockquote><blockquote>"

''अश्नुते विफलतां न चन्द्रमाः केवलं कुमुदिनीविकाशनात् ॥''"</blockquote><blockquote>"

''yad‍yaśaḥprasaraṇena bhūyasā hlādameyuṣi paraṁ jagattraye |''</blockquote><blockquote>"

''yad‍yaśaḥprasaraṇena bhūyasā hlādameyuṣi paraṁ jagattraye |''"</blockquote><blockquote>"

''aśnute viphalatāṁ na candramāḥ kevalaṁ kumudinīvikāśanāt || (10)''</blockquote>

''aśnute viphalatāṁ na candramāḥ kevalaṁ kumudinīvikāśanāt || (10)''"</blockquote>

== Sayana's Desha And Kaala ==

== Sayana's Desha And Kaala ==

As an administrator of a large kingdom, Sāyaṇa was no less an eminent success. When Kampaṇa died, his son Saṁgama was a mere child. Hence the administration of the state fell upon Sāyaṇa who as the regent carried out his heavy responsibilities in a really remarkable way. The following śloka from his alaṁkāra work speaks of the all-round prosperity prevailing during his time as the regent of the state —<blockquote>"

As an administrator of a large kingdom, Sāyaṇa was no less an eminent success. When Kampaṇa died, his son Saṁgama was a mere child. Hence the administration of the state fell upon Sāyaṇa who as the regent carried out his heavy responsibilities in a really remarkable way. The following śloka from his alaṁkāra work speaks of the all-round prosperity prevailing during his time as the regent of the state —<blockquote>"

''satyaṁ mahīṁ bhavati śāsati sāyaṇārye''</blockquote><blockquote>"

''satyaṁ mahīṁ bhavati śāsati sāyaṇārye''"</blockquote><blockquote>"

''samprāptabhogasukhinaḥ sakalāśca lokāḥ .''</blockquote><blockquote>"

''samprāptabhogasukhinaḥ sakalāśca lokāḥ .''"</blockquote><blockquote>"

''सत्यं महीं भवति शासति सायणार्ये''</blockquote><blockquote>"

''सत्यं महीं भवति शासति सायणार्ये''"</blockquote><blockquote>"

''सम्प्राप्तभोगसुखिनः सकलाश्च लोकाः ।''</blockquote>Sayana had three sons named Kampaṇa, Māyaṇa and Singaṇa. Among these, Kampaṇa was a fond lover of music—an accomplished musician. Māyaṇa was a good poet, clever in writing fine verses and beautiful prose in Sanskrit, and if his identification with Sāyaṇa-mādhava, the author of sarvadarśanasaṁgraha (सर्वदर्शनसंग्रह), as proposed by R. Narasiṁhachar turns out to be correct, he had full mastery over and a thorough grasp of the fundamental metaphysical problems of Indian Philosophies, both orthodox and heterodox.  

''सम्प्राप्तभोगसुखिनः सकलाश्च लोकाः ।''"</blockquote>Sayana had three sons named Kampaṇa, Māyaṇa and Singaṇa. Among these, Kampaṇa was a fond lover of music—an accomplished musician. Māyaṇa was a good poet, clever in writing fine verses and beautiful prose in Sanskrit, and if his identification with Sāyaṇa-mādhava, the author of sarvadarśanasaṁgraha (सर्वदर्शनसंग्रह), as proposed by R. Narasiṁhachar turns out to be correct, he had full mastery over and a thorough grasp of the fundamental metaphysical problems of Indian Philosophies, both orthodox and heterodox.  

The third son Singaṇa appears to be a keen student of Vedas, an expert in krama and jaṭa recitations. Besides, he was far celebrated for his magnificent gifts given to worthy Brāhmaṇas, as might be justly inferred from certain verses found at the end of his father’s Bhāṣya on śatapathabrāhmaṇam (शतपथब्राह्मणम्).

The third son Singaṇa appears to be a keen student of Vedas, an expert in krama and jaṭa recitations. Besides, he was far celebrated for his magnificent gifts given to worthy Brāhmaṇas, as might be justly inferred from certain verses found at the end of his father’s Bhāṣya on śatapathabrāhmaṇam (शतपथब्राह्मणम्).

'''Subhāṣitasudhānidhi (सुभाषितसुधानिधि)''' — It is a collection of moral sayings culled from a vast literature on the subject. It appears to be the earliest work of our author and was composed, as is clear from the colophon at the end of the work, during the reign of Prince Kampa or Kampaṇa whose minister Sāyaṇa was.<blockquote>"

'''Subhāṣitasudhānidhi (सुभाषितसुधानिधि)''' — It is a collection of moral sayings culled from a vast literature on the subject. It appears to be the earliest work of our author and was composed, as is clear from the colophon at the end of the work, during the reign of Prince Kampa or Kampaṇa whose minister Sāyaṇa was.<blockquote>"

iti pūrvapaścimasamudrādhīśvarārirāyavibhāla – śrīkamparājamahāpradhāna – bharadvājavaṁśamauktika – māyaṇaratnakarasudhākara – mādhavakalpatarusahodara – śrīsāyaṇāryaviracite subhāṣitasudhānidhau |</blockquote><blockquote>"

iti pūrvapaścimasamudrādhīśvarārirāyavibhāla – śrīkamparājamahāpradhāna – bharadvājavaṁśamauktika – māyaṇaratnakarasudhākara – mādhavakalpatarusahodara – śrīsāyaṇāryaviracite subhāṣitasudhānidhau |"</blockquote><blockquote>"

इति पूर्वपश्चिमसमुद्राधीश्वरारिरायविभाल – श्रीकम्पराजमहाप्रधान – भरद्वाजवंशमौक्तिक – मायणरत्नकरसुधाकर – माधवकल्पतरुसहोदर – श्रीसायणार्यविरचिते सुभाषितसुधानिधौ ।</blockquote>'''Prāyaścittasudhānidhi (प्रायश्चित्तसुधानिधि)''' — also known as Karmavipāka — deals with penances, one of the most important topics of the Hindu Dharma-śāstras.

इति पूर्वपश्चिमसमुद्राधीश्वरारिरायविभाल – श्रीकम्पराजमहाप्रधान – भरद्वाजवंशमौक्तिक – मायणरत्नकरसुधाकर – माधवकल्पतरुसहोदर – श्रीसायणार्यविरचिते सुभाषितसुधानिधौ ।"</blockquote>'''Prāyaścittasudhānidhi (प्रायश्चित्तसुधानिधि)''' — also known as Karmavipāka — deals with penances, one of the most important topics of the Hindu Dharma-śāstras.

'''Dhātuvr̥tti (धातुवृत्ति)''' — popularly known as mādhavīyā dhātuvr̥tti (माधवीया धातुवृत्ति)—is an authoritative treatise on Sanskrit verbs. It deals in an exhaustive manner with the verbs given in the Dhātupāṭha of pāṇini. Sāyaṇa has, as a token of gratitude, named this grammatical work after his elder brother Mādhava under whose inspiration he composed most of his valuable works.<blockquote>"

'''Dhātuvr̥tti (धातुवृत्ति)''' — popularly known as mādhavīyā dhātuvr̥tti (माधवीया धातुवृत्ति)—is an authoritative treatise on Sanskrit verbs. It deals in an exhaustive manner with the verbs given in the Dhātupāṭha of pāṇini. Sāyaṇa has, as a token of gratitude, named this grammatical work after his elder brother Mādhava under whose inspiration he composed most of his valuable works.<blockquote>"

''tena māyaṇaputreṇa sāyaṇena manīṣiṇā |''</blockquote><blockquote>"

''tena māyaṇaputreṇa sāyaṇena manīṣiṇā |''"</blockquote><blockquote>"

''ākhyayā mādhavīyeyaṁ dhātuvṛtttirviracyate  ||''</blockquote><blockquote>"

''ākhyayā mādhavīyeyaṁ dhātuvṛtttirviracyate  ||''"</blockquote><blockquote>"

''तेन मायणपुत्रेण सायणेन मनीषिणा ।''</blockquote><blockquote>"

''तेन मायणपुत्रेण सायणेन मनीषिणा ।''"</blockquote><blockquote>"

''आख्यया माधवीयेयं धातुवृत्त्तिर्विरच्यते  ॥''</blockquote>'''Alaṅkārasudhānidhi (अलङ्कारसुधानिधि)''' — it is a treatise on Sanskrit rhetoric and is unique in many ways. One remarkable peculiarity of the work consists in the fact that the majority of the illustrative verses is in the praise of the author himself. When the same author is responsible for the kārikās and udaharaṇa in an alaṅkāra work, generally the examples are in the praise of some deity or of some king or chief who happens to be the patron of the author. But, unlike most works of Sanskrit Poetics, this alaṅkārasudhānidhi gives illustrative verses in praise of its author himself and this distinguishes it from the other books of the same class. It also supplies us with interesting details about the life and personality of Sāyaṇa and his brothers, which are of considerable importance.

''आख्यया माधवीयेयं धातुवृत्त्तिर्विरच्यते  ॥''"</blockquote>'''Alaṅkārasudhānidhi (अलङ्कारसुधानिधि)''' — it is a treatise on Sanskrit rhetoric and is unique in many ways. One remarkable peculiarity of the work consists in the fact that the majority of the illustrative verses is in the praise of the author himself. When the same author is responsible for the kārikās and udaharaṇa in an alaṅkāra work, generally the examples are in the praise of some deity or of some king or chief who happens to be the patron of the author. But, unlike most works of Sanskrit Poetics, this alaṅkārasudhānidhi gives illustrative verses in praise of its author himself and this distinguishes it from the other books of the same class. It also supplies us with interesting details about the life and personality of Sāyaṇa and his brothers, which are of considerable importance.

These last three works were composed during the reign of Saṁgama II, the son of Prince Kaṁpa, as is clear from verses given in the beginning and at the end of these works.<blockquote>"

These last three works were composed during the reign of Saṁgama II, the son of Prince Kaṁpa, as is clear from verses given in the beginning and at the end of these works.<blockquote>"

''tasya (saṁgamasya) mantriśiroratnamasti māyaṇasāyaṇaḥ ||''</blockquote><blockquote>"

''tasya (saṁgamasya) mantriśiroratnamasti māyaṇasāyaṇaḥ ||''"</blockquote><blockquote>"

''tena māyaṇaputreṇa sāyaṇena manīṣiṇā |''</blockquote><blockquote>"

''tena māyaṇaputreṇa sāyaṇena manīṣiṇā |''"</blockquote><blockquote>"

''granthaḥ karmavipākākhyaḥ kriyate karuṇāvatā ||''</blockquote><blockquote>"

''granthaḥ karmavipākākhyaḥ kriyate karuṇāvatā ||''"</blockquote><blockquote>"

''तस्य (संगमस्य) मन्त्रिशिरोरत्नमस्ति मायणसायणः ॥''</blockquote><blockquote>"

''तस्य (संगमस्य) मन्त्रिशिरोरत्नमस्ति मायणसायणः ॥''"</blockquote><blockquote>"

''तेन मायणपुत्रेण सायणेन मनीषिणा ।''</blockquote><blockquote>"

''तेन मायणपुत्रेण सायणेन मनीषिणा ।''"</blockquote><blockquote>"

''ग्रन्थः कर्मविपाकाख्यः क्रियते करुणावता ॥''</blockquote><blockquote>"

''ग्रन्थः कर्मविपाकाख्यः क्रियते करुणावता ॥''"</blockquote><blockquote>"

</blockquote><blockquote>"

"</blockquote><blockquote>"

''asti śrīsaṅgamatdamāpaḥ pṛthvītala purandaraḥ .''</blockquote><blockquote>"

''asti śrīsaṅgamatdamāpaḥ pṛthvītala purandaraḥ .''"</blockquote><blockquote>"

''tasya mantriśiroratnamasti māyaṇasāyaṇaḥ ..''</blockquote><blockquote>"

''tasya mantriśiroratnamasti māyaṇasāyaṇaḥ ..''"</blockquote><blockquote>"

''अस्ति श्रीसङ्गमत्दमापः पृथ्वीतल पुरन्दरः ।''</blockquote><blockquote>"

''अस्ति श्रीसङ्गमत्दमापः पृथ्वीतल पुरन्दरः ।''"</blockquote><blockquote>"

''तस्य मन्त्रिशिरोरत्नमस्ति मायणसायणः ॥''</blockquote>'''Puruṣārthasudhānidhi (पुरुषार्थसुधानिधि)''' contains a collection of Pauraṇika verses on the topic of puruṣārtha and was written at the instance of his new patron king Bukka. It appears to be the first work of Sāyaṇa when he became attached to the court of Bukka and thus is earlier in date than the Vedic commentaries.

''तस्य मन्त्रिशिरोरत्नमस्ति मायणसायणः ॥''"</blockquote>'''Puruṣārthasudhānidhi (पुरुषार्थसुधानिधि)''' contains a collection of Pauraṇika verses on the topic of puruṣārtha and was written at the instance of his new patron king Bukka. It appears to be the first work of Sāyaṇa when he became attached to the court of Bukka and thus is earlier in date than the Vedic commentaries.

'''Vedabhāṣyāṇi (वेदभाष्याणि)'''— Vedic commentaries.

'''Vedabhāṣyāṇi (वेदभाष्याणि)'''— Vedic commentaries.

Indeed, the only safe guide which we possess in these times when even the masters of the ‘historical method’ differ from one another as regards the obvious meanings and plain interpretations of easy Vedic Mantras is the traditionally uniform and deeply suggestive Bhāṣya of Sāyaṇa. With his scholastic interpretations the great Sāyaṇāchārya has been, and indeed will be, the supremely reliable guide to effect our first entrance into the manifold mysteries of this impregnable fortress of Vedic language and Vedic religion. In fact, everyone who enters on the study of Veda owes in an abundant measure a deep debt of gratitude to this great authority on the Vedic exegesis. We cannot properly imagine what the condition of Vedic scholarship would have been to day without the vedārthaprakāśa (वेदार्थप्रकाश) of our eminent author in which the great Vedic exegesist has not left a single word unexplained, however obscure it may be. It is not that this eminent service done by Sāyaṇa has not been recognised even by the modern Western scholars who have devoted their time and labour towards a really critical and in a way intensive study of this most ancient Aryan literature. Thus Prof. Wilson is amply justified (and we believe thoroughly impartial) when he makes these critical remarks in the introduction to his translation of the first Aṣṭaka of R̥g—Veda—<blockquote>"

Indeed, the only safe guide which we possess in these times when even the masters of the ‘historical method’ differ from one another as regards the obvious meanings and plain interpretations of easy Vedic Mantras is the traditionally uniform and deeply suggestive Bhāṣya of Sāyaṇa. With his scholastic interpretations the great Sāyaṇāchārya has been, and indeed will be, the supremely reliable guide to effect our first entrance into the manifold mysteries of this impregnable fortress of Vedic language and Vedic religion. In fact, everyone who enters on the study of Veda owes in an abundant measure a deep debt of gratitude to this great authority on the Vedic exegesis. We cannot properly imagine what the condition of Vedic scholarship would have been to day without the vedārthaprakāśa (वेदार्थप्रकाश) of our eminent author in which the great Vedic exegesist has not left a single word unexplained, however obscure it may be. It is not that this eminent service done by Sāyaṇa has not been recognised even by the modern Western scholars who have devoted their time and labour towards a really critical and in a way intensive study of this most ancient Aryan literature. Thus Prof. Wilson is amply justified (and we believe thoroughly impartial) when he makes these critical remarks in the introduction to his translation of the first Aṣṭaka of R̥g—Veda—<blockquote>"

''‘He (Sāyaṇa) undoubtedly had a knowledge of his text far beyond the pretensions of any European scholar, and must have been in possession, either through his own learning or that of his assistants, of all the interpretation which had been perpetuated by traditional teaching from the early times’.''</blockquote>

''‘He (Sāyaṇa) undoubtedly had a knowledge of his text far beyond the pretensions of any European scholar, and must have been in possession, either through his own learning or that of his assistants, of all the interpretation which had been perpetuated by traditional teaching from the early times’.''"</blockquote>

== References ==

== References ==

# https://vedaravindamu.wordpress.com/2015/03/09/saya%E1%B9%87acharya-his-life-and-works/#more-604

# https://vedaravindamu.wordpress.com/2015/03/09/saya%E1%B9%87acharya-his-life-and-works/#more-604