Mahābhārata – Episode 59 – Thirteenth Year Ends; Uttarā Marries Abhimanyu

This article is part 59 of 112 in the series Mahābhārata

Three days after these happenings, the five Pāṇḍavas had their bath, wore fine white-coloured clothes, adorned themselves, proceeded to Virāṭa’s sabhā with Yudhiṣṭhira in the lead, and perched themselves on the royal seats reserved for kings. As usual, Virāṭa entered the sabhā to carry out his official duties, and the sight that he beheld! Seated there were the five of them, brilliant as burning fire. He saw Yudhiṣṭhira, who was seated like Indra among the devatas, and said in disdainful tone, “Were you not the one with whom I used to play dice? Had I not made you an assistant in this assembly? That being the case, you’ve adorned yourself and you’re sitting on the royal seat meant for kings! What’s all this?”

Arjuna replied to him with a smile, “Mahārāja! He is worthy of sitting even on the throne of Indra, if he so desires. He is Yudhiṣṭhira, the son of Kuntī. His fame has spread worldwide, like the radiant sun rays. In the land of the Kurus, wherever he walked, ten thousand elephants would follow him as part of his entourage; thirty-thousand golden chariots full of divine weapons would accompany him. Eight hundred professional raconteurs with gem-studded earrings would go with him along with several bards and singers of praise. The Kauravas would wait upon him and serve him daily; all the kings of the world would offer him tributes. He adheres to dharma and he is self-restrained, free from anger, speaks only the truth, and devoted to the Supreme. Duryodhana, Karṇa, Śakuni, and others burned with rage and jealousy looking at the splendour of his immense wealth. It is impossible to make a list of all his good qualities. How is it then, this great king, the son of Pāṇḍu, isn’t deserving of the royal seat meant for kings?”

Virāṭa asked, “If this is King Yudhiṣṭhira, the son of Kuntī, then who are his brothers Bhīma, Arjuna, Nakula, and Sahadeva? Who is Draupadī? After the Pāṇḍavas lost the game of dice, how come nothing was known about them?”

Arjuna said, “The man who donned the guise of your royal chef Ballava is the great Bhīma of terrible feats. It is he who killed all those who attacked him on the Gandhamadana mountain and brought the Saugandhika flowers to Draupadī; he is the gandharva who killed the evil Kīcaka; he is the one who killed tigers, bears, and wild boars as part of the entertainment in your inner chambers. Nakula is the one who takes care of horses in your stables. Sahadeva takes care of your cows. The sweet-smiling Sairandhrī of beautiful eyes is Draupadī; it is in connection with her that Kīcaka lost his life. I am Arjuna; details about me must have fallen on the ears of the gracious king; I am Bhīma’s brother, Pārtha; the elder brother of these twins. Mahārāja! All these days, we stayed in your home in great comfort, like infants in the mother’s womb; thus we spent our year incognito.”

After Arjuna made the introductions, Uttara described in great detail Arjuna’s prowess on the battlefield. He spoke these words of praise: “Mahārāja! He is the one who went right in the middle of the enemy chariots just as a lion pounces on a herd of deer; it is he who stormed into the enemy ranks and conquered them; it is he who defeated the Kauravas and retrieved our cows. My ears deafened upon listening to the tumultuous sound of his conch shell. Father, these Pāṇḍavas are great souls; they are truly worthy of worship; we must honour them well!”

Virāṭa said, “Even I had been captured by the enemies; it was Bhīmasena who released me from their clutches and retrieved the cows. It is because of the courage of their arms that victory was ours. Yudhiṣṭhira! I and all my ministers beg you all for forgiveness. My best wishes and blessings to all of you! If out of ignorance we have uttered something unpleasant or incorrect, please forgive us! Here, this entire royal treasury is yours!” Saying these words, he joyfully embraced Yudhiṣṭhira. However long he looked at them, he wasn’t fully satisfied. Thus, with great affection he told Yudhiṣṭhira, “Owing to good fortune, all of you came out of the forest safely; you have successfully completed this difficult year of living incognito. Without the slightest hesitation, please take this kingdom or anything else that belongs to me. Let the ambidextrous Dhanañjaya take my daughter Uttarā’s hand in marriage; he is indeed the best-suited husband to her!”

Dharmarāja looked at Arjuna’s face; immediately grasping his elder brother’s thoughts, Arjuna told Virāṭa, “O king! I will accept your daughter as my daughter-in-law. It is indeed a great thing if Mātsya and Bhārata kingdoms can come together by means of a marital alliance.”

Virāṭa asked, “Why won’t you accept her hand in marriage?”

Arjuna replied, “Mahārāja, I lived in the harem and have seen your daughter from close quarters; whether it was in private or in the open, she always looked upon me as a father and with great trust. Further, in matters of music and dance, I was loved and respected by her. After being with her for a year, now if I were to marry her, people will become suspicious and imagine things that didn’t happen. I am pure, restrained, and self-controlled; I’ve ensured that she is also pure and chaste. If you do as I have requested, nobody will have any opportunity for sort of suspicion, be it daughter-in-law, daughter, son, or father; everything will be clean and pure. That’s the reason I insist that you should make your daughter my daughter-in-law. My son Abhimanyu is the nephew of Vāsudeva; he is a divine child; he is loved by Śrīkṛṣṇa; he attained great martial prowess even as a child; he will be a suitable son-in-law; he will be a suitable husband for your daughter.”

Virāṭa said, “Indeed, these words are truly befitting of you Dhanañjaya, who are a strict adherent of dharma, a man of wisdom, and a great scion of the Kuru dynasty. Pārtha, what you deem to be appropriate, please undertake it at once. With you as my relative through marriage, I feel like all my desires have been fulfilled!”

In this manner, they both concurred on the matter. Virāṭa and Yudhiṣṭhira sent messengers to convey this news to Vāsudeva and all their friends and relatives.

Thus, after the completion of the thirteenth year, the Pāṇḍavas went to Upaplāvya, a place in Virāṭa’s kingdom, and settled down there. The king of Kāśi, Śaibya, Drupada, and several other kings with powerful weapons and great armies came to Upaplāvya to meet the Pāṇḍavas. Virāṭa offered his respects to all of them and sent them after giving them many gifts. After that Vāsudeva, Balarāma, Kṛtavarma, Sātyaki, Akrūra, Sāmba, and others came there bringing Abhimanyu and Subhadrā with them. Following them was an entourage of ten thousand elephants, a hundred thousand horses, a hundred million chariots, and a billion foot soldiers. Several Vṛṣṇyandhakas and Bhojas came. Śrīkṛṣṇa gave each of the Pāṇḍavas several gifts including women, clothes, and ornaments. After this, the marriage was conducted in the ordained manner. The Matsya kingdom was filled with the ebullient sounds of the blowing of conches, beating of drums, tabors, kettledrums, and other percussive instruments. Animals were freely killed and meat was prepared in a lavish manner. Several intoxicating drinks like sura, maireya, and others were prepared in large quantities. Musicians were singing, raconteurs were telling stories, actors and dancers were presenting dance-dramas, bards were singing songs of praise, and everyone who came there was entertained in a wholesome manner. All the beautiful damsels in Virāṭa’s harem adorned themselves with precious gems and came there, led by Queen Sudeṣṇā. In beauty and grace, Draupadī excelled them all. They adorned Princess Uttarā with several ornaments and with great pomp brought her there. Arjuna accepted her for his son. Yudhiṣṭhira, who was resplendent like Devendra himself, accepted the girl into his family. With the blessings of Śrīkṛṣṇa, Abhimanyu came there and was married; as a wedding gift, his uncle gave him seven thousand horses that could run as fast as the wind, two hundred elephants, and a great deal of wealth. After the wedding was over, Śrīkṛṣṇa donated several gifts that were given to him, a thousand cows, precious stones, a variety of clothes, many ornaments, vehicles, and beds, among other things. The capital of the Matysa kingdom was filled with great celebration and shone brilliantly because of the numerous citizens who were overflowing with joy.

End of Virāṭa-parva

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

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...