Palli-panchashika

Palli-panchasika
is a Khandakavya, written by Acharya Manmohan published in the year 1987. Sri Acharya ,a famous Sanskrit Poet from Orissa successfully added a new kavya of Panchasika type to the treasury of Sanskrit literature. This work basically describes the external nature of pallis, the villages and the internal natural expression of a son towards his mother, who lives abroad.
Plot :- The natural phenomenon of rustic beauty is described from the verse.1 to verse.39 of pallipanchasika. From the small window of the hostel-room, Poet witnessed the morning on the urban-pitch road.Chhatreikachitra-nilaye prathama-triyama, Niryapita kathamapi pramadabhirama/
Samlaksita vasumati sumatirprabhati, Vatayananta-nayanayana-samvibhanti// .3, Pallipanchasika
His eyes concentrated there, but the mind ran to the village beauty. The poetic vision moved around the rustic beauty. From sunrise to sunset, every aspects are touched. Poet described the beautiful ponds, roads and greeneries in an artistic way.
Pratarbhanuh prkrti-saralah kamra-palli-vilolah
Ynrtarame nagara-charne kastadayi-prachandah
Poura-suryo dahati bhuvanm gramasuryah dayardrah
Gramah sakshyat surapati-puram medina yatrarmya .V.9.P.P
Here the village is compared with the heaven in the kavya for the ecological balance. The environmental sanctity is also found explained in verse.15 of the kavya.
Mrd-gomayadiparilepanaputagatram
Mandara-chanpaka-palasa-vikas-ramyam
Lakhmi-padankanasitarpita-bhitti-chitram
Vrndavaticharana-charchita-charu-vaktram. V.15.P.P
From verse 40 to 50 poet expresses his feeling towards his mother where we found the pain of the inner-heart of a mother and the sacrifice of the mother for his child is depicted in a lucid way.
Janani karunamayi sada
smudara nija-samtatim prati
Bhava-tapa-visham nipiya sa
tanayebhyah madhuvari simchati. V.48.P.P.
In this context, the changed psycho-social picture in townships is spontaneously expressed.
Literary analysis :- This Panchasika is composed in traditional chhandah-style.It starts from Vasantatilaka and ends with Viyogini. Out of total five types of metres used in the Khanda-kavya , other three are Upajati, Indravajra and Mandakranta. Vasantatilaka plays prominence in the work.
The sentiment in normally shanta. In the last part of this Khanda-kavya the feeling of Vatsalya is found.
Urvi-durvadala-nava-tanu-syamale nila-lole,Mukta-khanda-vyatikara-sita-svachha-harah tusarah/
Suryaloka-sphurana-balitadipta-kalah pravalah,Gramamgramam vidadhati nava-prana-kallola-dharah.//V.11. P.P.
In the context of the description of life style of both rustic and civic citizens, the vitality and importance of the pallis are suggests by means of Dhvani. The same style of suggestive meaning is found expressed through negation in v.25. Again v.30 the young poet searches the village-beauty in the dry townships by means of dhvani.
Palli-sukantiratula nagare na bhati,No bhati kaka-pika-ramya-kalo viravah/
Dhavanti neha sishavah kapivarga-prsthe,Naivasti melanamiha vratacharininam.// V.30.P.P
In the description from v.42 to v.47 the hidden symptom of dhvani proves the work as a Dhvanikavya.
Chittam vyapnoti yah kshipram suskendhanamivanalah. Sahityadarpana. The simple and sweet way of the description by the poet shows the prasadata of the Khandakavya. Nowhere in Pallipanchasika we trace out any symptom of ojoguna.
Svargapavarga-phala-samchaya-rupa-tulyam, Matastvadiya-karuna-kanamatra-mulyam/
Pratyarpanaya sukhade ! na kada kshyamoham,Tasmat kshyamasva tanayam janani yatastvam.// V.3.P.P
Here we see the simplicity of expression and the description of Pallipanchasika flows by this way. Riti is obviously vaidarvi. The Alankaras both sabda and artha are found in each verse. In v.1 we see the characteristics of shrutyanuprasa i.e Chandre gatepi hasati nabhaso nahamsah. In v.2. there is vrttyanuprasa i.e. chapekshate surasirah purapuspavall. In v.3. the composition like -
Chhatreika-chitra-nilaye prathama triyama,Niryapita kathamapi pramadabhirama/
Samlakshita vasumati sumatih prabhati,Vatayananta-nayana-yana-samvibhanti.//
Shows the inclusion of Antyanuprasa. The most vital feature of this khanda kavya is the antyanuprasa and yatipata in most of the verses. (v.2., v.5.,v.6.,v.8., v.9., v.12., v.17.,v.20., v.21.,v.22.,v.23., v.28., v.34.etc.). Yamaka alankara also plays very important role in the work. One of the examples of verse with adya-yamaka is -
Pratah surarchana-sugeetamudatta-mantram,Tatakrtam suchiyutam srti-geeti-putam/
Bhatam cha purva-purusahuta-tarpanam yat,Matastadevanilayam salayam smarami.// v18.
A sloka with pranta yamaka is -
Sopyeva dirgha-saranih namaniya-bhamgah,Palli-vilasi-ramani-ramaniya-samgah/
Sammarjani-vyatikararpita-punya-ramgah, Dhuli-taramga-paripurita-chanchalamgah.//v.23.
There is a beautiful sloka in this Khandakavya, which can be cited as an example of adyapranta-yamaka
Palli-nivasi-jana-ranjana-charuvala-Vala-pramoda-parisanga-vilasa-lilah-/
Lila-pradhavana-sugopana-netra-bandha-Bandha-prasada-rachanollasita-prabandhah.// V.22.
Besides the above alankaras, the upama in v.6,8 ; svabhavokti in v.15,16, 20 and visesokti in v.5 are also significant. In verse 11 of P.P. the description of village beauty is really heart-touching with samsrsti-alankara through dhvani. Rightly Pdt. Govinda Mishra says in the preface that “ Ityatra anuprasa-svabhavoktyoh samsrstih dhvnina cha gramaprasastih hrdya.”
The style of description is natural and lucid. The spontaneous expression of the poet about the attachment of every mother towards her son is very much attractive.
Janani karunamayi sada, Samudara nija-samtatimprati/
Bhavatapa-visham nipiya sa, Tanayebhyah madhuvari simchati.// v. 48.
In the verse last but one the thought of imagination of young poet is interesting one.
Kavita yadi kalpanayate, tava kalyani supuspita stuteh .
Nahi paramaho samesyati gunaraseh satatm pativrate ! v.49
In conclusion, the opinion of Late K.C.Panigrahi, a legend of Oriya poetry about this work can be quoted . “Bhasa sarala, bhavah akrtrimah, ataeva ativa sundari, svabhava-manorama manomohanasya kavya-kamini . Asya sarasvatam mulyam asadharanam asti .”

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