Sri Harsa, the King-Poet (The Authorship of Sri Harsa)
By Nani Gopal Banerjee
Summary
Sri Harsa, the King-Poet, addresses debates over his authorship of three dramas, with scholars like Bana attributing works to the king due to doubts sparked by Nigoji’s comments on Mammata’s reference to Harsa gifting gold to Bana. While Bana claims the gift followed the vindication of Harsa’s character, historians dismiss this as proof. Evidence from I-tsing and Dimodaragupta supports Harsa’s authorship, though later works like *Maduna-parijata* were misattributed to royal patrons. Sodhala’s account clarifies that Harsa’s gift symbolized imperial fortune, not payment for authorship. Harsa’s *Ratnavali* reflects his warrior identity, drawing parallels to the Ekavali episode from Bana’s *Harsacarita*. The drama’s themes of victory and imperial power mirror Harsa’s military triumphs, particularly in Kalinga, corroborated by contemporary inscriptions. His cosmopolitan religious outlook and lofty sentiments in *Sarvasvadina* further underscore his authorship. Despite Bana’s claims, historical and textual evidence solidifies Harsa’s role as the King-Poet, though later misattributions persist.
Conclusion
This analysis resolves longstanding debates about Sri Harsa’s authorship by synthesizing textual, historical, and literary evidence. It demonstrates that early 8th-century sources, including contemporary accounts and performance records, consistently attribute the three dramas to Harsa, countering later scholarly doubts. The study highlights the cultural context of patronage and misattribution, emphasizing how works like *Maduna-parijata* were later wrongly credited to royal figures. By examining Harsa’s thematic focus on warrior ideals, cosmopolitan spirituality, and philosophical depth, the paper reaffirms his centrality to Sanskrit drama and his enduring legacy as both ruler and poet. The findings solidify Harsa’s place in literary history while offering a model for reassessing contested authorship in ancient texts.