Kathāmṛta - 120 - Viṣamaśīla-lambaka - The Stories of Candrasvāmī and Kṛṣṇaśakti

This article is part 120 of 133 in the series Kathāmṛta

The Story of Candrasvāmī

I am a brāhmaṇa named Candrasvāmī and belong to an agrahāra called Brahmasthala; I have a beautiful wife. Once, when I was away, a kāpālika who had come to my house seeking alms spotted my wife. As soon as the kāpālika saw her, my wife developed fever and passed away that evening. Our relatives gathered and cremated her. Upon my return, I came to know of her passing away and rushed to the crematorium. I noticed the kāpālika dropping a pinch of ash on her remains; in no time, she sprung back to life. He escorted her behind him out of the power of his mantra. I followed him with a bow and arrow. He went a two-storied building on the banks of the river Gaṅgā and placed her there. There were two other women like her. I picked up the khaṭvāṅga that he had placed down and shouted – “Kāpālika! You have abducted my wife! I will kill you!” As he did not have his khaṭvāṅga with him, he was powerless and started running from there. I killed him with my arrows and rescued the three women. I escorted them back home. Everyone in the town was astonished. The two other women said – “We are the daughters of the king and merchant of Vārāṇasī. The kāpālika had abducted us out of his magical power. Thanks to you, we are rescued without any blemish.” As I headed back after dropping them at their houses, I came across this son of the merchant. I have brought him here.  This is the story of the death and rebirth of my wife.

The king felicitated them and sent them away. He brought Guṇavatī, Candravatī, and Madanasundarī to Ujjayinī. A few days later, he sent a messenger to Kaliṅgasena asking his daughter in marriage. Kaliṅgasena replied – “Who is Vikramāditya to command me to give my daughter in marriage?” He said, full of ego. Therefore, I had to wage a war upon him. When King Vikramāditya reached Kaliṅga with his army, he said to himself: ‘I will surely marry this king’s daughter - it is only a question of when. Given that he will soon become my father-in-law, how could I bring myself to slay him?’So, that night, aided by the vetāla, he went into the palace, unseen by anyone. The vetāla quietly approached the sleeping king of Kaliṅga and whispered ‘Wake up my dear man! How can you sleep so peacefully, when king Vikramāditya has laid siege to your kingdom?’. The king woke up with a start. Then O princess, upon seeing the vetāla’s terrible form and Vikramāditya’s bravery, he agreed to surrender, and duly offered your hand in marriage to our lord. Thus, our king Vikramāditya won you over out of his love for you, risking his life even, and has married you in accordance with traditions of yore. So, think not for even a moment that he just won the hand of some nondescript maiden!’. Listening to these words of the guard Devasena, my mind attained peace - for it dawned on me that my dear husband had resolved to marry me right when he saw my image carved on a pillar. Likewise, smitten by her comely looks in a painting, he married dear Malayavatī too. - Kaliṅgasenā thus narrated this amazing tale to her co-wives. Accompanied by them all, king Vikramāditya continued to live happily, enjoying the comforts of his bountiful kingdom.

The Story of Kṛṣṇaśakti

One day, a prince named Kṛṣṇaśakti, arrived at king Vikramāditya’s palace from the south. He had come away after having suffered untold humiliation at the hands of his relatives. He stood at the main entrance of the palace, and despite being turned away, resolutely stood his ground and declared, ‘I shall serve king Vikramāditya for twelve years, come what may!’. Finally, Kṛṣṇaśakti was appointed a sentry at the palace. Eleven long years passed. In the twelfth year, he received a letter from his wife, who was suffering intensely from pangs of separation from him. One night, when king Vikramāditya set forth for his covert inspection of the city, he saw Kṛṣṇaśakti standing under a streetlamp, reading aloud to himself, the letter from his beloved wife. The letter had the following verse composed in the āryā meter-

संतप्तायत-तरलास्तव विरहे नाथ कठिनहृदयायाः |

निर्यान्त्य-विरतमेते निःश्वासा मे न तु प्राणाः ||

 

saṃtaptāyata-taralāstava virahe nātha kaṭhinahṛdayāyāḥ |

niryāntya-viratamete niḥśvāsā me na tu prāṇāḥ ||

 

My lord! Such is my agony of being away from you, 

That I only heave deep, distressed sighs.

But so hard-hearted am I,

That my life-breath still does not cease.

After seeing Kṛṣṇaśakti read this letter again and again wistfully, the king returned to the palace with a heavy heart. He thought ‘Poor soul! This sentry’s wife seems to be suffering so much! If this man’s mission does not complete this year, he will surely die of a broken heart’. Then he summoned Kṛṣṇaśakti and said ‘My dear man, go northwards via Oṃkārapīṭha to the village of Khaṇḍavaṭaka forthwith. It is yours to rule! Here, take this royal decree!’. Kṛṣṇaśakti was disappointed. He said to himself: ‘What? A mere village under my charge? Oh, the shame of it! Still, it is the king’s command, and obey it I must!’, and took the decree and departed to Khaṇḍavaṭaka. After passing through Oṃkārapīṭha, as Kṛṣṇaśakti passed through a forest, he saw a few girls playing. He asked them if they knew the way to Khaṇḍavaṭaka. They replied: ‘No, we don’t. But if you travel ten yojanās this way, you will reach our father’s dwelling. He might know!’ When he went there, he was taken aback to see that the girls’ father was a terrible rākṣasa! Still, Kṛṣṇaśakti approached him and said, ‘Sir, do you know the way to the village of Khaṇḍavaṭaka?’. The rākṣasa, impressed with Kṛṣṇaśakti’s courage, said: ‘What do you seek there? It has been lying in ruins for many days now. Well, if you must go there, I will show you the way. See here - as you traverse down this trail, it forks into two. Then you must take the path to the left, and you will soon reach that village. It has a tall fortress.’

Kṛṣṇaśakti followed the rākṣasa’s directions and soon reached Khaṇḍavaṭaka. He beheld a sight that was terrible, and at the same time, beautiful. It was a deserted village. Steeling himself to face whatever lay in store, he went in. Then after traversing through seven levels of fortification, he found a palace.

…he went through the seven levels of fortification to find a palace. He entered the palace and climbed the terrace which was made of gold and was studded with precious gems; there he saw a gem-studded throne, he sat on it. The rākṣasa meanwhile came in with a stick and shouted, ‘O puny human! Why did you sit on the throne?’ The valourous Kṛṣṇaśakti replied, ‘I’m the king now; Vikramāditya has created an inscription to affirm the same; you are all my subjects!’  The rākṣasa bowed and said, ‘I’m just the gatekeeper; how can I violate the orders of Vikramāditya!’ saying so he brought in all the subjects. The ministers came. The royal dignitaries came. The fourfold army too came; everyone bowed down before him with respect; he felicitated them and thought, ‘How great is the noble Vikramāditya, how magnanimous! He mentioned about giving just a mere village but gave me such an expansive kingdom!’ he started reigning over it. His kin were looked after by Vikramāditya in Ujjayinī. After some time, Kṛṣṇaśakti came to Ujjayinī along with his army and prostrated before Vikramāditya, he said, ‘My friend! Didn’t you receive a letter from your wife? Go pacify her!’ Kṛṣṇaśakti was surprised. He went to his home country along with his friends, threw out his brothers, made his wife - who was tormented by pangs of separation - happy and finally started ruling the kingdom.

 

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 G S, 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. Krishnasastri

 

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

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...