Sense of humour of the Sanskrit Subhashitakaras

by Aparna Bhogal

We Indians are proud of our Sanskrit language, a part of our rich cultural heritage since time immemorial. Many of our languages are derived from the Girvanabharati. It is one of the ancient languages and is appropriately praised as devabhasha (the language of the gods). It is a language of knowledge, wisdom. It encompasses knowledge of various fields, philosophy, science, literature, art and much more!

It is rightly said:

Of all languages, Sanskrit is the foremost, charming and divine. In her (Sanskrit language), poetry is sweeter and in that also subhashitas (are the sweetest).

Subhashitas (well-spoken/well-expressed sayings) are epigrammatic couplets that express an idea in a clever and funny way. These small verses are full of witty worldly wisdom. Like maxims, they preach the art of living, morality, dos and don’ts in the society. Many subhashitas are really ingenious in their expressions and they reveal the sound sense of humour of their creators — the subhashtikara. I hope this random assortment of roughly translated verses will help understand the talents of the gifted poets known or unknown to history.

Rational humour was always considered important. One subhashitakara states:

Wise people spend their leisure time in poetry, science and humour while the idiots spend their spare time in sleeping, addictions and quarrels.

These brainy subhashitakaras indulged in wordplay even in their prayers to the gods. There is one playful conversation between Shiva and Parvati, and a pun is intended as each name of the god signifies something else as well — a double entendre.

Here, as Shiva is knocking on the door, Parvati enquires and Shiva responds. But Parvati playfully interprets differently just to tease Shiva:

The conversation —

Parvati: Who are you?

Shiva: Shuli (one who holds shula or trident).

Parvati: Go for hunting.

Shiva: Beloved, I’m Nilakantha (one with a blue throat: stands for both a peacock and the name of Shiva).

Parvati: So make noise like a peacock.

Shiva: (I’m) Pashupati (the lord of animals).

Parvati: (I have) not seen animals (Why have you come here as there are no animals?)

Shiva: (I am) Sthanu (one who stays at one place).

Parvati: A tree (also sthanu) doesn’t speak.

Shiva: This is Shivaa’s (Shivaa meaning Parvati) prana (life).

Parvati: If you are husband of Shrugali or female fox (also Shivaa) go to the forest.

Thus, left tongue-tied Lord Chandrachuda (Shiva) be yours (be pleased with you).

Note:

Parvati assumes all of Shiva’s names differently than how he intends them.

Pashupati also means shepherd.

Nilakantha also means peacock.

Sthanu also means a tree.

Shivaa also means Shrugali or female fox.

Another poet is grief-stricken when he sees Shankha’s (a conch shell) pathetic condition:

Shankha, whose father is Ratnakara (the ocean: a reservoir of precious gems) and sister is Lakshmi (the goddess of wealth), is (living as a) beggar weeping (howling) for alms, and if not given waits.

There is a reference to mendicants who blow conch shells while begging for alms.

The tribe of ‘fathers-in-law’ gives ample scope for making fun. One poet doesn’t even spare the gods.

The whole world is indeed meaningless, devoid of fun. Only the house of my father-in-law is a proper (dwelling place). Hara sleeps on the Himalaya (Parvati is the daughter of the mountain Himalaya) while Hari sleeps in the Great Ocean (Lakshmi originated from the ocean).

Another poet doesn’t agree with the former. Possibly unable to get rid of bedbugs, he speculates:

Lakshmi rests in the lotus, Shiva sleeps on the mountain Himalaya, and Vishnu sleeps in the Milky Ocean perhaps because of bedbugs!

Not every father-in-law has a cordial relationship with his son-in-law. In old texts also one finds plenty of mentions of people who suffered at the hands of their sons-in-law. One of the remarkable verses condemns such sons-in-law in the following words:

Always hostile, always vicious, always in want of adoration,

Son-in-law is the tenth planet which always stays in Kanya rashi.

It is believed that a man suffers due to the movement of the planets in and around his zodiac sign according to his birth chart. The word ‘Kanya’ stands for daughter as well as the zodiac sign Virgo. A pun is intended here. The poet has introduced the additional tenth planet (apart from the nine planets known then) ‘son-in-law’ who is always a troublemaker.

Another poet amusingly observes:

The bride looks for a handsome face when selecting a groom, the bride’s mother looks for wealth and the father looks for education, knowledge. Their kins expect a good clan while the others expect tasty dishes at the wedding.

The Holy family seems the most favourite subject! One observer probably suffering due to family disputes is thinking grimly and finds out why Shiva drank the Halahala (a poison). His inference is indeed ingenious!

The hungry Naga (serpent on Shiva’s body) wants to eat Ganesha’s mount-rat. Skanda’s mount peacock wants (to eat) Naga and Girija’s (mount) lion also wants Naga’s head. Gauri is jealous of Ganga (on Shiva’s head), Anala (fire in the third eye) on his forehead is jealous of Chandra (on Shiva’s head). So the poet concludes that tired of these family feuds, Shiva, to end his life, consumed Halahala (venom). (Remember, Shiva consumed Halahala during the churning of the ocean to save the world.)

Nagananam is also Ganesha’s elephant head.

Sometimes the poet hopelessly observes rules of the world and satirically writes:

Oh, poverty! I salute thee!

I am blessed to be favoured by you. I see everyone while nobody sees me. (Everyone ignores poverty-stricken person).

Yes, money matters! Another poet seems particularly angry with doctors. He scornfully says:

Oh, Vaidyaraja (doctor) sibling of Yamaraja, salute to thee!

Yama takes prana (life, soul) only (but greater is the) Vaidyraja (who) takes away prana and dhana (wealth) both.

Poets were always seeking patronage. There are innumerable verses in Sanskrit, glorifying philanthropists and condemning misers who are not ready to part with their wealth. One poet ridicules the miser in his own style:

There has never been and nor will be in future a generous person equal to a miser as he gives his untouched wealth to others. (He dies without enjoying his wealth, leaving it for others).

One poet has already recognised his capacity and compromised with himself:

Mountains situated far away, a prostitute’s face with (heavy) makeup, stories of war, these three are pleasing if viewed from far. (Oh, sour grapes indeed!)

However, not everybody was that compromising! Today social media makes it more evident that most people are looking to be famous, often by hook or by crook. In the olden days too people were desperately seeking publicity. One poet sarcastically writes:

Break the pots, tear off the clothes or ride a donkey, by this or that one should accomplish publicity.

He might have observed that people could do anything weird to attain cheap publicity.

Some poets seem very particular about handwriting. There are plentiful verses in Sanskrit glorifying good handwriting and condemning bad handwriting. One of the poets has produced an amusing conversation between two friends. Apparently, two ladies are boasting about their husbands’ accomplishments!

Friend, my husband (is) so smart, what he writes no one can read. Mine (is) even more (smart) what (he) writes, himself doesn’t read (cannot read).

Besides such accomplishments, many would also give importance to physical appearance! Who wants to turn old? Nobody in this world! But alas! We cannot reverse the process. Gods drink the elixir of immortality that is exclusively their right as they are gods. We, mortals, have to face the agonies of ageing. Destiny, what else? But, an ageing poet has decided to express his anguish in the following words:

My hair are turned grey, there are wrinkles on cheeks. Lost rows of teeth but I have no problem at all. But when doe-eyed damsels, after seeing me in the street, call me uncle that definitely makes me feel like (I am badly) hit by thunderbolt.

Very few people in the world can make other people laugh at their own expense. This green grandpa indeed has given a glimpse of his strong sense of humour.

There is no doubt that many accomplished poets were taken in high regard in the royal court. But not everybody in the society is a rasika sahridaya (connoisseur of art and literature). Another poet does not forget to express his anguish when forced to recite his composition to an arasika who doesn’t understand poetry. He prays to God Brahma:

Oh, God Brahma!

Other karmaphalas (destined punishments and rewards) according to your will if written (on my forehead) are bearable but (please) don’t write, don’t write, don’t write (emphatically stated thrice) on my forehead that I may have to recite poetry to arasika.

(I hope in his life he always encountered a rasika and was admired for his talent).

To conclude, it can be said, these poets hailing from different regions in India have, over the ages, enriched Sanskrit and sanskruti (culture) by adding gems of such short and sweet verses to the repertoire of kavya. Their keen observation of nature (environment as well as human nature), astuteness acquired through experiences in life, learning, and their sharp intellect all are resonated in their compositions. A subtle sense of humour reflected in the witty remarks of these gifted poets doesn’t fail to fascinate our hearts and minds.

Author’s note: This is not a scholarly pursuit but as I am a poet and lover of Sanskrit, an attempt is made here to share what I find enchanting. I am indebted to my teacher Prof. Gauri Mahulikar who inculcated in me the love for the Sanskrit language.

Dr Aparna Bhogal joined CSMVS in 1998. Currently, she is the Curator of the Archaeology Section. She has a Diploma in Indian Aesthetics from Jnana Pravaha, Mumbai, Master’s degrees in Ancient Indian Culture from St. Xavier’s College, Mumbai, and in Museology from M.S. University, Vadodara, PhD in Archaeology from Deccan College, Pune. She has curated temporary exhibitions, has been involved in the setting up of permanent galleries, many national and international exhibitions as well as other projects of the Museum including publications.