When I browsed the web for Sanskrit poetesses—blogs and consolidated information intended for lay readers—the results were scarce and sparse. I repeatedly encountered the same few names: Śīlābhaṭṭārikā, Vijjikā, and perhaps three or four others. This led me to an unsettling question: was that all? Of course, information exists—scattered across PDFs on archive, critical editions, and research papers—but engaging with these sources often feels inaccessible or outdated for many of us (our generation). This, then, is both a plan and a platform. I propose to write about these poetesses to make their voices accessible to those unwilling to blow the sand off old books, or patient enough to wait for a PDF to load.

In this series, I attempt to share insights drawn from the painstaking efforts of earlier generations of scholars—on whose shoulders we stand—in collecting, collating, and presenting the significant, though often overlooked, role of women in the transmission and development of Saṁskṛta literature.

Bhāvadevī

Date

The poetess is quoted as Bhāvakadevī and Bhāvākadevī in anthologies, viz., Subhāṣitaratnakoṣa, Kavīndravacanasamuccaya, and Saduktikarṇamṛta among others. There are no other means of determining her age except deciding date ad quen based on the age of the anthologies. Vidyākara compiled Subhāṣitaratnakoṣa in the 11th century and the same is the probable of Kavīndravacanasamuccaya. Saduktikarṇāmṛta was composed around the 13th century. Dr. Baldev Upadhyay, in his Saṁskṛta Vāṅmay kā Bṛhad Itihās, places her in the 9th century CE but doesn’t present any evidence.

Style

Based on the available material, it can be known that Bhāvakadevī avoided using long compounds and lesser-used words. Her verses are in vaidarbhī style. Sweetness and simplicity of words are some of the virtues of her writings.

Writing:

तरुणीव्रज्या

तथाऽभूदस्माकं प्रथममविभिन्ना तनुरियं ततोऽनु त्वं प्रेयानहमपि हताशा प्रियतमा।
इदानीं नाथस्त्वं वयमपि कलत्रं किमपरं मयाप्तं प्राणानां कुलिशकठिनानां फलमिदम्॥

Both her breasts have sprung up at the same time; they are equal and have grown together from the very beginning in their places of origin; both are called “breast”; both are equal in growth and glory. Although each has its own sphere, they have yet begun to vie and fight among themselves for their respective boundaries. Rigour is indeed worthy of homage.

मानिनीव्रज्या

तथाऽभूदस्माकं प्रथममविभिन्ना तनुरियं ततोऽनु त्वं प्रेयानहमपि हताशा प्रियतमा।
इदानीं नाथस्त्वं वयमपि कलत्रं किमपरं मयाप्तं प्राणानां कुलिशकठिनानां फलमिदम्॥

At first, it happened so, there was no difference between us. Afterwards, you became dearer (to me), and I, a lady-love in despair. Now, you are the lord, and I your (neglected) consort. What else (worse) can happen now? My iron-heart has led me to this plight.

Note: Daniel H. H. Ingalls mentions this as “turnabout verse” — a kind of verse where the conclusion comes out to be SURPRISE. More or less like:

नायके मानिनीवचनम्

तथाऽभूदस्माकं प्रथममविभिन्ना तनुरियं ततोऽनु त्वं प्रेयानहमपि हताशा प्रियतमा।
इदानीं नाथस्त्वं वयमपि कलत्रं किमपरं मयाप्तं प्राणानां कुलिशकठिनानां फलमिदम्॥

Why do you fall at my feet? Stop, as the masters are independent. What offense have you committed if you had pleasure for some time, somewhere. I am the one who has erred who has lived (and not died) separated from you. ‘Women have their husbands as their life-breaths’ – so it is I who should conciliate you. (This verse is attributed to Vākkūṭa in Subhāṣitaratnakoṣa)

Bibliography:

• Sanskrit Poetesses Part A-B, Ed. by Jatindra Bimal Chaudhuri
• Saṁskṛt Sāhity kā Bṛhad Itihās by Padmi Shri Dr. Baldev Upadhyay
• Subhāṣitaratnakoṣa
• Kavīndravacanasamuccaya
• Saduktikarṇāmṛta