Kathāmṛta - 35 - Madanamañcukā-lambaka - The Stories of Ratnadatta, Kaliṅgadatta and Tārādattā

This article is part 35 of 133 in the series Kathāmṛta

तर्जयन्निव विघ्नौघान्नमितोन्नमितेन यः |

मुहुर्विभाति शिरसा स पायाद्वो गजाननः ||

[May that elephant-faced deity, who by repeatedly raising and bowing his head, appears to continually threaten the multitude of obstacles, protect you all]

नमःकामाय यद्बाणपातैरिव निरन्तरम्|

भाति कण्टकितं शम्भोरप्युमालिङ्गितं वपुः||

[We salute Kāma, the deity of love, whose shower of arrows cause even the body of Śiva to appear horripilated while being embraced by Umā]

 

[From now we hear the story of Naravāhanadatta narrated by himself in third person to the seven Ṛśis and their wives, after having got all the riches and becoming the king of vidyādharas.]

Naravāhanadatta reached the age of eight. He spent his time gaining knowledge and playing with the sons of the ministers in the gardens.

The story of Ratnadatta

Meanwhile, Kaḻiṅgadatta, a devotee of Buddha was ruling Takṣaśilā, situated on the banks of the river Vitastā. In that city resided a merchant named Vitastādatta, who also followed Buddha. He had a son called Ratnadatta who ridiculed his father for giving up brāhmaṇya (vedic path) and becoming a śramana. The father counselled his son saying, ‘Dharma is not a monolith; the learned say brāhmaṇya comprises of truthfulness, compassion to one and all, and shunning desire and anger; Buddha also prescribes extending security and empathy towards all living things; being an adherent of such a noble path is not adharma.’ But the son continued rebuking his father harshly. This made his father sad and he informed the noble king. the king brought Ratnadatta to the royal court and feigning anger, he ordered, ‘Kill this traitor!’ When his father interceded on his behalf, the king postponed his execution saying, ‘Give him two months so that he can mend his ways.’ Ratnadatta thought, ‘What have I done? What is my crime which deserves such a harsh punishment? They’d slaughter me mercilessly after two months!’ This worry made him lose hope and he starved himself and became emaciated. After two months, he was brought before the king who asked him, ‘Why have you become so thin? I didn’t order you to skip food!’ Ratnadatta replied, ‘O king! Death being imminent, I forgot myself; what of food?’ The king said, ‘My dear boy! Now you understand how fear of death affects you; this fear is universal; thus the wise always try to attain mokṣa; so you should stop ridiculing your father who is on that path!’ Ratnadatta thanked the king for teaching him dharma and asked him to guide him to mokṣa. During the city fair, the king gave him a vessel filled with oil and ordered him. ‘Take a tour of the city, keeping the vessel in your hand; if you spill even a drop your head will be chopped.’ The royal guards armed with swords, unsheathed, followed him to keep an eye. Ratnadatta with great difficulty completed the task and returned. The king then asked him, ‘Now tell me, what all did you see in the city?’ With folded hands, the merchant’s son replied ‘O king! Truth be told, I could neither see nor hear anything; for I was only focused on ensuring that the oil does not spill!’ The king smiled and said, ‘Yes. Now likewise, concentrate all your attention on the divine. If that becomes the object of your unyielding focus, all external diversions will begin to disappear and you will finally see the Truth. And once you realize the Truth, you will not be caught in the vicious cycle of karma. This is the essence of the lesson on mokṣa.’ Having fulfilled his objective, the son of the merchant returned to his father’s home.

The story of Surabhidattā

Indra, for some unknown reason, had organised a celebration in Amarāvatī. All the apsarās were present except one by the name Surabhidattā. Indra through his divine powers found that she was having a secret relationship with a vidyādhara called Nandana. He was at once angered, but thought, ‘What fault is of the vidyādhara? Wasn’t Śiva himself perturbed by seeing Tilottamā? (see Umā-maheśvara-saṃvādaḥ, Anuśāsana-parva, 128th sarga, verses 1-8, the critical edition of Mahabharata for more details), Wasn’t Viśvāmitra by Menakā or Yayāti by Śarmiṣṭhā?’ Thus reflecting, the one who was swayed by Ahalyā, spared the vidyādhara, but cursed Surabhidattā to be born as a mortal. He also told her how the curse ends, ‘You’ll be liberated once you beget a daughter not born from the womb and accomplish the objectives of the deities.’

One night, Tārādattā the queen of king Kaliṅgadatta had a strange dream. She saw a brilliant flame descend from the heavens and enter her womb. The divine flame was in fact Surabhidattā, who was cursed by Indra to be born as a mortal on earth. The next morning, speaking to her husband, Tārādattā said that it is indeed one’s actions that beget good or bad fruits, and proceeded to narrate her story:

The story of Tārādattā’s previous birth

‘When I was just a little girl, a miracle happened. My parents Dharmadatta and Nāgaśrī were able to recollect the story of their previous birth, each unbeknownst to the other! However, they were now caught in a dilemma - whether they should share it with each other or not. If they didn’t tell each other, it would tantamount to betraying their mutual love. On the other hand if they did, the shock could kill them both. Even then, my mother gathered the courage to narrate her story first.

She revealed that in her previous birth, she had been a maid in the house of a brāhmaṇa named Mādhava. Her husband Devadāsa was a servant in the house of a merchant. They were so poor that their only possessions were a pan, a vessel, a broom and a cot. Each had only one set of clothes to wear and only one blanket to protect them from the weather. However, despite their abject penury, the husband and wife were happy. After a few years, famine struck the region where they lived. They were already poor, and now their situation had worsened further. They had barely any food to eat. When such was their state, one day, a guest arrived at their humble abode. The generous Devadāsa offered the entire portion of his meagre food to the stranger. Within a few days, his life abandoned him, as if angry that he respected the guest more than his life. Unable to bear this grief, Devadāsa’s wife followed him in the sati tradition by ascending his funeral pyre. She was then reborn as Nāgaśrī in a royal family. Nāgaśrī eventually married Dharmadatta and in due course of time, begot me.

Listening to my mother’s story of her previous birth, my father Dharmadatta revealed to her joy that he was in fact, the very same Devadāsa reborn! As ordained, my parents then left for their heavenly abode. After this, it was my aunt who raised me.

Once a seer had visited us. I served him just like how Kuntī had served sage Durvāsas. Thanks to the boon which the seer bestowed upon me, O king, I was blessed with a righteous husband in you.’

Having listened to the story of his queen Tārādattā, the amazed Kaliṅgadatta said, ‘Devi! It is true that if we diligently practice our dharma to the best of our abilities, it is bound to yield manifold fruits.’ He then proceeded to narrate the story of seven brāhmaṇas:

The story of seven brāhmaṇas

Long ago, in the town of Kuṇḍinapura, there lived a teacher who had seven brāhmaṇa disciples. As time passed, the region became drought stricken. The guru sent his disciples to his father in law’s house in another town, seeking a cow. They did as their guru had commanded and were duly given a cow. However, the father in law did not take care to offer food to the disciples as they embarked upon their return journey. Soon the disciples were overcome with severe hunger. They said to themselves: ‘Our revered guru’s home is still afar and we are stuck here. We will soon die of hunger and thirst. Alas! There’s no food to be found anywhere. Even this cow looks famished and could die anytime. So why don’t we kill it and fill our stomach and take what is left of it to our teacher?’ Then they used the cow as the sacrificial animal and performed the deva-pitṛ-yajña. They partook of the sacrificed animal and carried the portions left and offered them to the guru. As they had spoken the truth, the guru was pleased and pardoned their mistake. In about a week from then, they passed away without anything to eat. However, due to the strength of their honesty, they were born as jātismaras (someone with the knowledge of their previous birth/s).

The story of the brāhmaṇa and the caṇḍāla

A brāhmaṇa and a caṇḍāla were performing tapas on the banks of the river Gaṅgā and both observed a vow of fasting. Looking at the fishermen who were catching and eating fish there, the brāhmaṇa thought – ‘These fishermen are lucky rascals! They eat the meat of śapara fish everyday to sate their desire’. The caṇḍāla saw them and thought – ‘Fie upon these men who harm living beings! I shouldn’t see their faces!’ He shut his eyes and contemplated upon the ātman! Once the two left their mortal remains, the body of the brāhmaṇa was eaten by dogs and he was reborn as a fisherman. However, because of the association with the tīrtha, he was born as a jātismara. The caṇḍāla was born as a king and he too was a jātismara. Thus the brāhmaṇa suffered as a fisherman knowing his past deeds while the caṇḍāla with his good conduct in his previous life became the king. Mind is the root of the tree of dharma. If the mind is pure, the fruit will be good as well. Moreover, the fruit that is reaped from karma is proportional to the sattva.

To be continued...

The current article is a translation of Prof. A R Krishnasastri’s Kannada classic Kathāmṛta along with additional segments added from the original Kathā-sarit-sāgara (of Soma-deva). Bṛhat-kathā-mañjarī (of Kṣemendra) and Bṛhat-kathā-śloka-saṃgraha (of Budha-svāmin) have also been referred to. The translation has been rendered by Raghavendra GS, Arjun Bharadwaj, Srishan Thirumalai, and Hari Ravikumar.

The original Kannada version of Kathāmṛta is available for free online reading. So are the other works of Prof. Krishna Shastri.

 

Author(s)

About:

Prof. A R Krishna Sastri was a journalist, scholar, polyglot, and a pioneer of the modern Kannada renaissance, who founded the literary journal Prabuddha Karnāṭaka. His Vacana-bhārata and Kathāmṛta are classics of Kannada literature while his Saṃskṛta-nāṭaka and Bankimacandra are of unrivalled scholarship.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...