Mahābhārata – Episode 31 – Naḻopākhyāna – Naḻa comes to Vidarbha

This article is part 31 of 112 in the series Mahābhārata

The brāhmaṇas left in search of Naḻa, as per the words of Damayantī. Several days later, a brāhmaṇa named Parṇāda came back and said to Damayantī, “Mother! As per your directions, I set out in the search for the king of Niṣadha, Naḻa, and after traveling for many days, I ended up in the royal court of Ayodhya. I narrated your account there. Neither the king Ṛtuparṇa nor his associates had anything to say about this. However, his charioteer, Bāhuka came to me when I was alone. He is ugly-looking and of a short stature. He has the skill of driving the chariot at great speeds, apparently. I was told that he also cooks extremely well. He heaved a sigh, called me aside, and enquired after my health. He said, “Women of noble birth take care of themselves when faced with calamities; she should not be annoyed with him because he has lost all his wealth, is in penury, and has left her (his wife) behind. When he tried to lead a life with all the difficulties, the birds snatched away even the tiny piece of cloth he was left with. She should not let herself down because she had to face so much of difficulty in the company of her husband!” I rushed to meet you, to communicate to you whatever I had heard, soon after my conversation with Bāhuka. It is left to you how you take it forward – you can either inform the king or think of a different solution.

Damayantī’s eyes turned wet upon listening to the account given by Parṇāda. She went to her mother and said, “Mother! I shall call for Sudeva now and send him on a certain task, right before you. If you really love me and care for me, please do not inform about this to Father. Just as Sudeva came to fetch me in the past, let him leave for Ayodhya to bring Naḻa back.” She sent for Sudeva, honoured Parṇāda for his job and gifted him some money. “O revered one! You have been of great help to me! As soon as Naḻa is back here, you will be rewarded even more!”

She told Sudeva, “Sudeva! Go to Ayodhya and make an announcement: ‘Damayantī is willing to marry again and a svayaṃvara is organised for the purpose. All the kings are heading to the event. They have scheduled the event for tomorrow. If you are interested in participating, you will need to leave immediately!’ Please do so!” Sudeva carried out her wish.

Ṛtuparṇa called for Bāhuka and said, “I would like to go to the province of Vidarbha to attend the svayaṃvara of Damayantī. You have the skill of aśvahṛdaya. You must drive me there in a day’s time!” Hearing these words, Naḻa’s heart split into two. He wondered if Damayantī was doing this out of her sorrow, being caught in a helpless situation or if she was planning this to get reunited with Naḻa. He thought 'I have wronged her with my small-mindedness and due to my shortcomings. Even so, what she's planning to do now is difficult to bear. It seems like the nature of women is thus – they are utterly fickle. Of course the magnitude of my mistake is great. Yet it is unlikely that she will give up all affection for me and behave in such a disappointed manner! Moreover, she is the mother of two. I can also discover the truth once I go there in person. In addition, it will fulfill Ṛtuparṇa’s request and my curiosity will be quenched too!’ With these thoughts, Naḻa made his mind up and said, "So be it, revered king! I shall take you to the province of Vidarbha in a day!”

Naḻa went to the horse stables and chose horses that belong to the Sindh province. They were good breed and could gallop faster than the wind. They were beautiful and had curls on their body. Looking at those horses that were lean, Ṛtuparṇa was disappointed and said, "What's this? Why are the horses in such a pathetic condition? Will they be able to drive us at good speed? They almost look lifeless!” Bāhuka said in reply, “I'm sure that they will take us on time. If you don’t want to have these, I shall chose a different set of steeds.” Ṛtuparṇa said, “What do I know of horses? You are an expert in the field of horse-riding. Prepare the ones you think will serve our purpose!” Naḻa prepared the chariot with the horses that he had initially chosen. Ṛtuparṇa and Vāṛṣṇeya got on to the chariot. Bāhuka merely clicked his tongue and they started running at great speed. Ṛtuparṇa was amazed hearing the sound of the chariot and seeing Naḻa’s capability. He thought, ‘Is he Mātalī, the charioteer of Indra, or is he King Naḻa? He seems to be of Naḻa’s age and is as matured as him. But it is unlikely that he is Naḻa. I don’t think I can ever mistake this ugly-looking fellow for Naḻa!’ His thoughts knew no bounds. Ṛtuparṇa expressed his pleasure and appreciation for Naḻa’s skill. As the chariot sped through forests, hills, and rivers, Ṛtuparṇa’s upper garment fell off on the way. He said, “Halt the chariot for a moment! Looks like I've lost my garment! Vāṛṣṇeya, can you please fetch it quickly?" Bāhuka said, "We have already traveled a great distance from the place you lost it. We will not be able to get your garment back!"

They went ahead and found a tree that was full of fruits. Looking at the tree, Ṛtuparṇa said, "Look at my skill at numbers! Everyone does not have to know everything; no one is omniscient. But, tell me, how many leaves does this tree have? How many fruits does it bear? What is the number of fruits and leaves fallen on the ground? The number of leaves fallen down is one greater than the number on the tree. Similarly, the number of fruits fallen down is one greater than the total number of fruits on the tree! The branches here possess five crore leaves and two thousand ninety five fruits!” Bāhuka immediately jumped off his chariot asking Vāṛṣṇeya to hold the reigns for a moment and counted the fruits. Ṛtuparṇa was accurate in his estimate, to the last fruit! Greatly astonished by Ṛtuparṇa’s skill, Naḻa was desirous of learning it too. Naḻa taught Ṛtuparṇa the art of aśvahṛdaya and got akṣahṛdaya in exchange. Kali, who was housed in Naḻa’s body until them came out, spitting out the kārkoṭaka poison. ”I was in great pain in your body because of Damayantī’s curse and also because of the presence of the kārkoṭaka poison!” With these words, Kali entered into the tree and disappeared into it. Naḻa’s anguish came down and was free from all troubles. However, his ugly features did not leave him.

They reached Kundinapura the same evening. It was not just Damayantī who recognized the chariot’s sound, but even the elephants and horses in the palace displayed signs of happiness hearing the sound. She climbed up to one of the higher stories and saw Ṛtuparṇa, Vāṛṣṇeya, and Bāhuka in the chariot. Ṛtuparṇa hopped off the chariot and met King Bhīma. The king welcomed him and asked what the purpose of his visit was. He wasn't aware of the plan that his wife and daughter had concocted. There were no other kings there, except for Ṛtuparṇa. There was no sign of celebrating the svayaṃvara of Damayantī. Looking at all this, Ṛtuparṇa was confused; he merely said, "I've come all the way only to see you and pay my respects to you!” Bhīma, however, didn't believe Ṛtuparṇa; he wondered why this king travelled such a great distance merely to greet him. He guessed that this was not the real reason. He sent Ṛtuparṇa away to the guesthouse. As Ṛtuparṇa and Vāṛṣṇeya left, Bāhuka was resting in the chariot after having fed the horses in the stable. Damayantī saw them and thought, “The chariot sounded like Naḻa’s, but I don’t find him here at all. Probably Vāṛṣṇeya has learnt aśvahṛdaya too. It is also possible that Ṛtuparṇa can drive a chariot just as Naḻa does.” She called for her maid, Keśinī, and said, "Can you please find out who the ugly person in the chariot was? He was also driving the chariot. I have a great suspicion that it must be Naḻa. My heart too tells me that I am right. Go, talk to him, and tell him what Parṇāda has told us. Let me know what his reaction will be upon hearing your narration.”

To be continued…

This is an English translation of Prof. A R Krishna Shastri’s Kannada classic Vacanabhārata by Arjun Bharadwaj and Hari Ravikumar published in a serialized form. Thanks to Śatāvadhāni Dr. R Ganesh for his review and astute feedback.

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.

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

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...