Mandana, Suresvara and Bhavabhuti : The Problem of their Identity
By Dinesh Chandra Bhattacharya
Summary
This article investigates a long‑standing question in Indian intellectual history: were the philosopher Mandana Miśra, his disciple turned rival Sureśvara, and the Sanskrit dramatist Bhavabhūti actually the same person under different names? The Sankara‑digvijaya, a hagiographical account of Śaṅkara’s life, claims that Mandana Miśra (also known as Viśvarūpa or Ubhayakavi) was defeated in debate by Śaṅkara, became a monk and was thereafter called Sureśvara. Modern scholars have generally accepted this identification. However, Professor Hiriyanna challenged the identification by noting doctrinal differences between Mandana and Sureśvara and by questioning the authorship of certain texts. The article reviews external evidence for the authorship of the Brahma‑siddhi, a key Advaita treatise traditionally ascribed to Mandana. Citations in Vedic commentaries and the works of later philosophers show that Sureśvara wrote commentaries known as Vārttikas and the Naishkarmyasiddhi but is never credited with the Brahma‑siddhi. Conversely, Mandana is regularly cited as the author of the Brahma‑siddhi and Vidhiviveka. The commentator Vācaspatimiśra, who wrote a gloss on the Vidhiviveka, treats Mandana and Sureśvara as distinct authorities. Further, the dramaturgical works attributed to Bhavabhūti differ in style and sectarian orientation from Mandana’s philosophical writings. By examining references in Citsukha’s commentary and the Vedānta Paribhāṣā, the author argues that Mandana Miśra and Sureśvara belonged to different intellectual lineages: Mandana may have predated Śaṅkara and advocated a ritualistic form of Advaita, while Sureśvara developed Śaṅkara’s doctrine in a strictly non‑dual direction. Bhavabhūti, the author of plays like Mālatīmādhava, was likely a later figure unrelated to either philosopher. The article concludes that the conflation of these figures arose from hagiographers seeking to consolidate lineage and that careful textual analysis reveals clear distinctions in doctrinal positions and literary output. Recognising their individuality helps clarify the evolution of Advaita thought and Sanskrit drama.
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Conclusion
By sifting through commentaries and doctrinal statements, the article demonstrates that Mandana Miśra, Sureśvara and Bhavabhūti were separate figures whose works reflect different emphases within the Advaita tradition and Sanskrit literature. Mandana’s Brahma‑siddhi and Sureśvara’s Vārttikas show differing attitudes towards ritual, while Bhavabhūti’s plays exhibit dramatic creativity rather than philosophical argument. The traditional identification likely served sectarian narratives rather than historical accuracy. Separating these personalities allows for a more nuanced understanding of early Advaita and its literary context.