Kathāmṛta - 29 - Naravāhanadattalambaka - Stories of Śaṅkhacūḍa, Siṃhaparākrama, Birth of Naravāhanadatta

This article is part 29 of 133 in the series Kathāmṛta

By then, Śaṅkhacūḍa spotted them from a distance and shouted – ‘O Garuḍa! Don’t, don’t! He is not a nāga, it is me! Why are you suddenly under an illusion?’ Hearing this, Garuḍa was confused and panicked. Jīmūtavāhana was distressed because the task he had taken up did not find completion. From his conversations with Śaṅkhacūḍa, Garuḍa understood that the person he ate was a vidyādhara and was immensely pained. Garuḍa decided that he had to atone for the pāpa that he had committed – he had eaten a person who had sacrificed himself for the sake of another. As he was about to enter fire, Jīmūtavāhana exclaimed –

‘O lord of birds! Why are you worried? If you truly fear incurring sin, please don’t devour the nāgas anymore. Also be penitent for having done that in the past. That would be true penance indeed. All other forms of austerities are fruitless’. Garuḍa agreed to this and in order to heal Jīmūtavāhana’s wounds as well as to bring the dead nāgas back to life, he flew to the heavens to bring amṛta. In the meanwhile, the compassionate goddess Gaurī herself brought amṛta and lovingly sprinkled it on Jīmūtavāhana. He was instantly healed and became even more handsome than he ever was, and the skies resounded with drums from the heavens! Garuḍa on the other hand flew past the ocean shore showering down the amṛta. All the nāgas who had died at Garuḍa’s hands earlier were suddenly back alive, and the earth for once resembled pātāla!

Malayavati, along with her parents and kinsmen were elated at the sight of the hale and hearty Jīmūtavāhana. Śaṅkhacūḍa went to pātāla. Jīmūtavāhana’s fame spread across the three worlds! Matanga and other enemies surrendered to him fearing for their lives. Then Jīmūtavāhana, along with his parents and his wife, went to the Himalayas and reigned as the emperor of the vidyādharas for a long time.

This story narrated by Yaugandharāyaṇa made the pregnant queen Vāsavadattā happy. She then spent the rest of the day with her husband, fondly talking about their yet to be born son who was destined to be the emperor of the vidyādharas.

3. The next day, when Vatsarāja held court with his ministers, queen Vāsavadattā said: ‘Dear husband, you know only too well that ever since I came to know I am with child, my only concern has been the baby’s well being. Last night, lord Śiva appeared in my dream in his resplendent form smeared with ash, with the crescent moon amidst his matted locks and bearing his trident. The compassionate one said: ‘Dear daughter, you have nothing to worry about, for after all it is with my blessings that your son is taking birth! Know his well being to be my responsibility! Now I will tell you something which is going to happen tomorrow, so you may know that this dream is indeed real. A wicked woman will drag her husband in front of the king and complain bitterly about him. She wishes to kill her husband with the help of her relatives. Do not believe a word of what she will utter. Warn Vatsarāja beforehand. May the life of an innocent man be spared!’ As if by cue, right then, the guard ushered a woman and her husband into the court. The woman complained: ‘O benevolent king, please save me from this cruel husband of mine who is not even providing me with food to eat!’ Thinking that this is what lord Śiva himself had foretold, Vatsarāja was about to hand out a severe punishment to her, when Yaugandharāyaṇa stopped him and quietly suggested: ‘My king, this is not the right way to dispense justice. How will your subjects be convinced of her wrongdoing?’ Nodding in agreement, the king ordered his minister to have the matter thoroughly investigated. Witnesses were tracked and made to depose in open court. From their testimonies it was established beyond doubt that the woman was in fact a liar and that her poor husband was actually innocent. The angry king banished the woman, her son and her relatives from the kingdom, and gave the man a bag of coins to start a new life and find a suitable wife for himself. The king said: ‘It is a vile woman who tortures her husband caught in a bind, just like a crow would hurt a prey caught in a pit-trap! A wife who is both imbued with good qualities and has pleasing demeanour too, is as rare to find as a tree that soothes wayfarers with its thick shadows. Only a fortunate few are blessed with such life partners!’

Just then, Vasantaka who was nearby quipped: ‘Your majesty, the bonds of friendship and hatred are usually inherited from attachments of previous births!’ and proceeded to tell this story:

The Story of Siṃhaparākrama

A king called Vikramacaṇḍa ruled over Vārāṇasi. He had a minister by name Siṃhaparākrama. He was matchless in warfare and gambling. He had a wife named Kalahakārī (literally, ‘the cantankerous one’). Her body was crooked as was her mind. The immense wealth that Siṃhaparākrama regularly earned from the king and through gambling, he would hand it over to her. She gave birth to three sons. Even so, she was utterly foolish and could not spend even a moment without getting into a quarrel. “What do you have to worry about? Wherever you like, you go and eat and drink and make merry! What about us? There's nothing!” Thus she tormented him day after day. In whatever quantity he brought her food and drink, delicacies and dresses, and uttered sweet words of consolation, he simply could not avoid her fury and acrimony. Distraught and disgusted, he left his home and proceeded to a place near Vindhyavāsini; he sat down in a place having given up food and water. She came to him in a dream and said, “Child! Go to Vārāṇasi. If you dig at the base of the biggest banyan tree of the town, you will find buried treasure. Inside that, you will find an emerald cup. To anyone—man or beast—who peeks into it, the entire life-story of their previous births will be revealed. Using that, if you learn about the story of your and your wife's previous lives, your troubles will melt and you will live in peace!” Upon executing her command, he came to know that in their previous lives, he was a lion and she was a bear. He realized that their enmity and constant quarrel was a result of the remnants from their previous lives. Forsaking sorrow and attachment, he went about knowing the stories of the previous lives of various young maidens and finally came across a girl who was a lioness in her previous birth. He then married that girl who was called Siṃhaśrī. Ensuring that Kalahakārī was provided for, in terms of food and clothing, he happily settled down with his second wife and lived happily, enjoying all his riches. Therefore, the affection and enmity displayed by one's wife or other people are all a result of the happenings in previous lives, O Mahārāja!

Saying so, he concluded his narration.

The king spent his days just seeing the moon-face of the pregnant devī without ever being satisfied with it. In the meantime, Yaugandharāyaṇa had a son named Marubhūti, Rumaṇvān had a son named Hariśikha, Vasantaka had a son named Tapantaka, and the security officer Nityodita or Ityaka had a son named Gomukha. When they were born, an incorporeal voice said, “They will all become ministers to the son of Vatsarāja!” As the appointed time came closer, one day Vāsavadattā began to feel the labour pains. She entered the delivery room. It was decorated with varied pictures and paintings. The branches of the sun-plant and the śami tree were fixed in the windows for the sake of protection from evil spirits. The ministers had secured the place by employing various mantras and tantras to keep away all the mātṛgaṇas. In due course, just as the sky gives birth to the moon, she gave birth to a beautiful baby boy who seemed to be pervaded by amṛta. Even as her son was born, the delivery room and her heart light up with great effulgence. When a messenger took the news to the king, Vatsarāja felt like granting him the entire kingdom as a gift. But he did not do so, simply because that such a thing would have been inappropriate. When he saw the face of his son, it appeared like the līlā-kamala (a lotus used for sport or adornment) of the sāmrājya-lakṣmī (the kingdom personified as a goddess). Even as he and his ministers were basking in the joy, a voice from the sky said, “Mahārāja! This son of yours is an avatāra of Kāmadeva. Call him ‘Naravāhanadatta.’ He will become an emperor ruling over all the Vidyādhara kings!” There was a shower of flowers. Divine drums were sounded.

In the palace too musical instruments were played; there was a lot of merriment in the city. The king felicitated everyone. The child grew like the waxing moon. As instructed by the divine voice, the child was named as Naravāhanadatta. The child grew, milk teeth started appearing, and he started speaking, the king’s delight knew no bounds. The ministers brought their sons so that they can also stay with the prince. The purohita, Śantikara also brought in Piṅgalikā’s twin sons Śāntisoma and Vaiśvanara. Thus in his childhood itself Naravāhanadatta was bestowed with six able ministers. It is impossible to describe Vatsarāja’s delight seeing the smiling face of his son, how the time just flew!

End of Naravāhanadattalaṃbaka

To be continued...

The current article is a translation of Prof. A R Krishna Shastri’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...