Kathāmṛta - 111 - Suratamañjarī-laṃbaka - The Story of Śūrasena and Suṣeṇā - The end of Caṇḍa-mahāsena and Vatsa-rāja

This article is part 111 of 133 in the series Kathāmṛta

पातु वस्ताण्डवोड्डीनगण्डसिन्दूरमण्डनः ।
वान्ताभिपीतप्रत्यूहप्रताप इव विघ्नजित् ॥

May Gaṇeśa, the destroyer of obstacles, protect you, the effusing vermillion on his temples during his tāṇḍava, looks like the fiery prowess of all impediments he has swallowed.

1. Once during the Vasanta, Naravāhanadatta who was sporting with his wives and ministers on the banks of the river Gaṅgā, addressed his ministers, “This forest is filled with flowers with fragrance; there is cool breeze from the south; the directions are all spotless; cuckoos sing melodiously; is there a dearth of anything? Only problem is separation from our beloved; this is true even for the birds and animals; see that cuckoo, it's reminiscing about its beloved and is crying!” Gomukha seconded his opinion, “Yes Prabhu! Let me narrate that incident which happened in Śrāvasti. Please lend me your ears!” He narrated the story–

The story of Śūrasena and Suṣeṇā

There lived a village head named Śūrasena. He had a wife called Suṣeṇā who was dearer to him than his very life. Once he had to go to the king’s cantonment. His wife said, “Āryaputra! Don’t leave me alone; I won’t be able to survive for a second without you.” he said, “My dear! If the king orders, can I violate it? Don’t you know this? I’m in his control!” she said with tears in her eyes, “If you have to go then I’ll bear the separation somehow; but you shouldn’t stay there for even a single day in the season of Vasanta!” he replied, “My dear! So be it; however busy I’m, however important might be the work I’m entrusted with, I’ll return on the first day of Caitra!” She somehow braved the separation, and counted the days, waiting for the duration to get over. The song of the cuckoo and the buzzing of the bees conveyed to her the arrival of Vasanta. On Caitra śuddha pāḍyamī, she assumed that her husband would return, so she anointed herself with oil, took bath, worshipped Manmatha, decked up like a bride and waited for him. Dusk approached but her husband was not to be seen; she thought, “O my beloved hasn’t come; instead it's my death which has arrived; someone who is immersed in serving others, will they have love for their own?” and she was in deep sorrow. Śūrasena, who didn’t want to arrive late, had meanwhile obtained permission from the king, took the swiftest camel available, travelled fast and arrived by the next dawn. To his agony, he saw his beloved all decked up, lying lifeless! He put her on his thighs and soon he too met the same fate! Later due to the grace of devī Caṇḍī, they both were revived. Thereafter they never left each other for even a single day.

After listening to this story, Naravāhanadatta’s mind became very agitated. The soul of the virtuous seems to possess the power to sense impending good or evil! That night, he dreamt about a dark woman dragging his father away towards the south. He suddenly woke up with anxiety and invoked the deity of knowledge of ‘prajñapti’ and inquired about his father’s well being. The deity said “Lord! Your father was in Kauśāṃbī when he received a messenger from Ujjayinī. The messenger conveyed that Caṇḍa-mahāsena was no more and queen Aṅgāravatī followed her husband on the pyre, observing ‘satī’. Upon hearing this news, Vatsarāja fainted. Vāsavadattā too was very aggrieved at the demise of her parents. When the ministers revived Vatsarāja, he affectionately addressed Gopālaka who stood nearby: ‘Go to Ujjayinī. Rule your father’s kingdom. The messenger says that the subjects await you eagerly!’. Gopālaka replied, ‘I cannot live without any of you. I don’t want to go to Ujjayinī, now that my father is no more. Let my younger brother Pālaka, who is already there, become the king; I will assent to it’. Vatsarāja soon dispatched Rumaṇvān along with some of his ministers to Ujjayinī to relay Gopālaka’s wishes. Then he summoned Yaugandharāyaṇa along with a few other ministers and said, ‘I find that this worldly glory, at long last, is devoid of all essence! I have concluded my reign. I have enjoyed this life, conquered my foes and even lived long enough to see my son win lordship over vidyādharas. Old age has now caught up with me. I will hence go to mount Kalañjara and cast off this mortal coil and attain union with the lord’s feet’. Hearing these words, everyone cried unanimously: ‘As the master wishes! With your permission, we too shall follow your footsteps!’. Vatsarāja then turned to Gopālaka and said ‘For me Naravāhanadatta is no different from you. So Gopālaka, take over this kingdom of mine! Protect Kauśāṃbī!’. A teary eyed Gopālaka replied: ‘May the fate which befalls you befall me too! I cannot live without all of you!’. To this, feigning anger, Vatsarāja retorted: ‘What is this? Have you already turned disobedient? Ah, but of course! Now that I don’t wield authority anymore, why would anyone defer to my wishes!’, and turned his face away. Gopālaka reluctantly agreed to stay back in Kauśāṃbī. Then Vatsarāja, accompanied by Vāsavadattā and Padmavati, mounted his royal elephant and departed for mount Kalañjara. Upon reaching his destination, he offered prayers to lord Śiva, took up Ghoṣavatī, his ever-favourite vīṇā and with his wives next to him and ministers behind him, he jumped off the precipice. Immediately a flying chariot appeared and carried them all to heaven”. When Naravāhanadatta further inquired about what happened to Gopālaka, the deity said “He summoned Pālaka from Ujjayinī and entrusted the kingdom of Kauśāṃbī to him. Then, overcome with dispassion, he went to the Kāśyapāśrama in mount Asita. There he wears garments fashioned out of bark and lives among the sages”. Naravāhanadatta made ritual offerings to his departed parents and then went to the Kāśyapāśrama. There he saw his uncle Gopālaka and begged him to come away with him. Gopālaka replied ‘Child! Having seen you now, my heart is already content! But then again, if you love me so much, stay with me in this āśrama till the end of monsoon!’. Naravāhanadatta acceded to his uncle’s request and stayed back with his retinue.

2. One day, Naravāhanadatta’s commander in chief Hariśikhā walked in and said “Lord! Earlier tonight, when I was on the terrace, I saw a divine being carrying away a woman. She was wailing ‘Alas! Dear husband, where are you!’. Accompanied by a few others, I gave him a chase and thundered: ‘Alas evil one! Why are you abducting a helpless lady? Birds and animals too are dhārmic in Naravāhanadatta’s kingdom,’ We got him down. We later discovered that he was my brother-in-law Ityaka. I asked him – “Who is she? Why are you carrying her away?” In reply, he said – “She is Suratamañjarī, the daughter of Mataṅgadeva. Her mother had promised me that she would be given in marriage to me. However, her father gave her away to some unknown man. I have, thus, brought her here. Is it wrong to get my wife?” Suratakumārī said – ‘There lived a king named Pālaka in Ujjayinī; he had a son named Avantivardhana; I was married to him; once, when I was sleeping next to him, this evil guy kidnapped me!’ I have brought them here to the custody of the lord. You may decide the best”. Naravāhanadatta asked Gopālaka if that was true and he replied – “I know nothing of this; I learned only now that Pālaka’s son was married to her. You may summon the prince and the minister Bharataroha. We will get to know the reality from them. Accordingly, the king sent Dhūmaśika to Ujjayinī and got them to his kingdom.

Bharatarohaka said the following – “Deva! Once, the citizens of Ujjayinī requested Pālaka – ‘We will need to perform a festival called Udaka-dāna now. If the lord does not know the reason behind the celebration of the festival, let us narrate. In the past, your father Caṇḍamahāsena worshipped devī Caṇḍī to procure a powerful sword and a loving wife. The devī was pleased, blessed him with a sword and said – ‘Dear child! You will soon kill an asura named Aṅgāraka and marry his daughter, Aṅgāravatī!’ In the meantime, the king noticed that all heads of town who visited him were killed by some animal. To figure out the reason, Caṇḍamahāsena went alone at night and spotted a pāradārika (adulterer). He fought and killed him. The next moment, a rākṣasa emerged from his neck. Looking at him, the king thought that the rākṣasa was the reason for the death of many of his visitors. When he was about to kill him, the rākṣasa said – ‘King! Don’t kill me! I haven’t killed the heads of the towns!’ When the king asked who it was, the rākṣasa said – ‘An asura named Aṅgāraka lives in the pātāla. He surfaces on the earth at night and consumes the town-heads. He kidnaps princesses and makes them the assistants of his daughter, Aṅgāravatī. You should catch him when he roams the forest and eliminate him!’ The king let him free. Once, when the king was out hunting in the forest, he spotted a huge boar. He wondered if a boar can really be so big and also suspected that it could be the magic of Aṅgāraka. He shot an arrow at the boar. The animal cared little for the arrow, pushed away his chariot and entered a large burrow.

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 G S, Arjun Bharadwaj, Srishan Thirumalai, and Hari Ravikumar. We thank Dr. Shankar Rajaraman for his timely help.

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...