Kathāmṛta - 40 - Madanamañcukā-lambaka - The Story of Uṣā - Kaliṅgasenā's travel to Kauśāmbi

This article is part 40 of 133 in the series Kathāmṛta

5. The next day when Somaprabhā came back Kaliṅgasenā during her interaction with her said, ‘It is certain that my wedding with Prasenajit would happen; my mother has told me; you say that he is an old man; My heart is now partial to Vatsarāja since I’ve heard that he is young and handsome; so you take me with you to first show me Prasenajit and then to Vatsarāja; let us ignore my parents’ words!’ Somaprabhā replied, ‘Let us go by the vimāna-yantra; you should leave with all your paraphernalia as I know for sure you won’t return once you have seen Vatsarāja; you wouldn’t care about your parents; you would forget me too; I won’t be able to meet you regularly once you are married!’ A weeping Kaliṅgasenā said, ‘If that is the the case then bring Vatsarāja here instead; I wouldn’t be able to survive there without you even for a second; didn’t Citralekhā bring Aniruddha the same way using tact? You’d know this story but still listen while I will narrate it once more –

The story of Uṣā

Uṣā was the daughter of Bāṇāsura. She pleased Gaurī who gave a boon to her, ‘You’ll marry the prince who’d appear in your dreams!’ She likewise dreamt of a divine prince one day and confided it to her friend Citralekhā. She was an expert in yoga; she said, ‘the boon of Devī would never go futile; but without knowing the name, lineage, but nothing about him – name, lineage, appearance – is known! How can he be found? I’ll draw the whole world with all its inhabitants, the devas, the rākṣasas and the manuṣyas; if you can find your beloved let me know; I’ll bring him to you.’ saying so she drew everything in the world. Uṣā pointed her fingers towards Aniruddha, the prince of Dvāraka. Citralekhā said, ‘O my dear friend! Blessed you are; he is the grandson of bhagavān Śrī Kṛṣṇa; his residence is sixty thousand yojanas from here!’ Uṣā begged, ‘O my friend! I should see him today itself; or I’d burn in the fire of separation!’ Hearing this Citralekhā used her yogic prowess to reach Dvāraka, woke up Aniruddha, told him about Uṣā’s feelings and brought him in a flash. Uṣā spent time with him happily. Her father heard the news and was enraged. But Aniruddha with his own valour and the army of his grandfather defeated him. Then he went to Dvāraka with his beloved and the couple lived happily like the primordial couple, Pārvatī and Parameśvara. Thus did Citralekhā bring Uṣā her beloved, in a single day. You are more powerful than her. Pray bring Vatsarāja to me without any further delay!”. Somaprabhā said “Citralekhā was a goddess and thus she could carry him off. How could I come to even touch another man, which I would have to, if I were to bring him here? So instead I shall carry you there!”. Kaliṅgasenā decked herself with choicest clothes and favourite ornaments and gathered her retinue to accompany her. Somaprabhā took them all in a flying chariot first to Śrāvastī and showed from afar, king Prasenajit who was returning from a hunt just then. Despite seeing him from a distance, Kaliṅgasenā said “Who in her right sense will marry this old man, dear Somaprabhā! Come! Let’s now go to the abode of Vatseśvara!”. The very next moment, through Somaprabhā’s magical abilities, they landed in Kauśāmbi. Upon seeing Vatsarāja strolling in the garden from afar, Kaliṅgasenā became infatuated like a Cakorī bird who saw her moon. She said wistfully “Friend! Let us go to Vatsarāja right now; I cannot bear to be without him even for a single moment!”. However, Somaprabhā perceived a bad omen and stopped her saying “You must not be seen by anyone. Pray stay in the grove. The signs don’t bode well. Have patience. I shall arrange for your meeting with him in the morning. I need to be back at my home now” and flew home, leaving Kaliṅgasenā there. Soon, Vatsarāja too went back to his palace. Not heeding to Somaprabhā’s words, unable to resist the yearning in her heart, Kaliṅgasenā sent word through her mahout to Vatsarāja, indicating how she felt about him. This was music to Vatsarāja’s ears. Elated, he summoned Yaugandharāyaṇa and put his thoughts to him: “Kaliṅgadatta’s daughter, the famous beauty Kaliṅgasenā has travelled all the way here with a desire in heart to marry me. I too wish to marry her as soon as practically possible. How quickly do you think this can be achieved?” The wise Yaugandharāyaṇa thought “Kaliṅgasenā’s beauty has no match in the three worlds. Even the gods are not immune to her loveliness. If Vatsarāja weds her, he will abandon everything. Eventually it will be the end of Vāsavadattā, and of Naravāhanadatta. Even Padmāvatī won’t be able to live. The queens’ fathers Caṇḍamahāsena and Pradyota and their queens will also perish. Thus this will only lead to all round destruction! However I cannot directly turn the king down. His craze will only grow if I try to dissuade him”. So he mulled over and remarked “My king! You are indeed fortunate that princess Kaliṅgasenā has herself come to you! Through her, even her father, king Kaliṅgadatta will come under your sway! However, we must consult the astrologers and proceed in the prescribed manner so that the marriage will take place in an auspicious lagna. We must do this especially since she is the doting daughter of a king who commands a large territory. We should offer her our best quarters befitting her stature and have our best servants wait upon her!” Vatsarāja agreed wholeheartedly. Everything was arranged perfectly.

On his way home, Yaugandharāyaṇa pondered “For inauspicious courses, deferment is the best medicine. Long ago, Śacī devi also pushed for time and escaped from the clutches of Nahuṣa. He eventually incurred a curse and Indra became the king of the gods again”. Later he summoned the astrologers and asked them in strict confidence to place, as far in the future as possible, the auspicious moment for marriage.

It was not long before Vāsavadattā became aware of what was happening. She summoned Yaugandharāyaṇa and lamented thus: “Sir! You had sworn an oath to me that I won’t have any co-wife other than Padmāvatī, had you not? Now the king is bent upon marrying princess Kaliṅgasenā. I foresee my husband becoming infatuated with her beauty. Your promise will come untrue and I will end my life!”. The minister comforted her by saying “Devi! Have courage! How can such a thing happen as long as I live? Now, please do not confront the king head-on in this matter. Instead it is best if you conduct yourself as though you support him in this - for it’s best that a doctor is not blunt with a patient in his care. He must speak in a pleasing manner and get his job done. One must never swim against a river in an effort to cross it. Therefore, when you see the king, serve him pretending as though you see no change. You will get the support of her father if you marry Kaliṅgasenā; this will help in your welfare – tell him so. If you do so, he will be pleased with your generosity and his respect and love for you will deepen. He will become calm thinking that Kaliṅgasenā will be his. If desires are subdued, they will only lead to welfare. Please tell this to Padmāvatī-devī as well. The king may tolerate some waste of time, if this happens. In the meantime, I will do whatever I deem suitable for the current circumstances. Just observe my intelligence! Don’t sit idle’ He left her with these words.

Vatsarāja did not visit any of his queens during the day and at night. He spent the night thinking about Kaliṅgasenā.

Next morning, the clever Yaugandharāyaṇa met Vatsarāja who was looking forward to meet him. He said ‘Svāmin! Why shouldn’t we look for a suitable lagna for the wedding today?’ The king replied – ‘That is exactly what I have in my mind as well. My heart does not let me stay away from her even for a moment.’ He asked one of his attendants to call the jyotiṣa for discussion. The jyotiṣa said that there is no convenient lagna for the king in the next six months. Yaugandharāyaṇa who heard that faked anger and said – ‘Fie upon these fools. Let us call the jyotiṣa who was respected by the king. He is not here right now. We can act as per his advice!’ He got the jyotiṣa there. He was of the same opinion as the previous one. Yaugandharāyaṇa then pretended to be worried. He said ‘O Lord! What shall we do?’ As the king too desired to marry on an auspicious lagna, he said – ‘Let us seek Kaliṅgasenā’s opinion in the matter!’ He agreed and visited her with the two jyotiṣas. As soon as he saw her physical charm, he thought – ‘The king will need to let go of all kingdoms if he marries her!’ He told her – ‘They have come here to determine a suitable lagna for your wedding. Tell us your nakṣatra!’ Her attendants told her janma-nakṣatra and the two jyotiṣas said that there was no suitable date in the next six months. Kaliṅgasenā was disappointed by their words. Her chamberlain said – ‘Check if there is a lagna available before that. When they are anyway going to be husband and wife in the future, where is the need to delay? Everyone said – ‘Yes! That is right! He is right!’ Yaugandharāyaṇa said – ‘Alright! If we decide on a lagna that is faulty, will Kaliṅgadatta not feel sad?’ Kaliṅgasenā had no other option than to say –‘Please do whatever all of you deem suitable’. Yaugandharāyaṇa left with the two jyotiṣas. He informed Vatsarāja about the happenings and went home.

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...