Kathāmṛta - 59 - Alaṅkāravatī-lambaka - The Story of Anaṅgaprabhā - The Story of Lakṣadatta and Labdhadatta

This article is part 59 of 133 in the series Kathāmṛta

He followed her instructions and performed intense tapas to propriate Vindhyavāsinī. She appeared before him and said, “O brāhmaṇa! All four of you were my gaṇas; Pañcamūla, Caturvaktra, Mahodaramukha, and Vikaṭavadana; once when you were wandering on the banks of Gaṅgā you were attracted towards Cāpalekhā, who was the daughter of a muni; she protested saying, ‘I’m a kanyā; go away!’ the other three heeded her warning; but you persisted; she screamed, ‘Father! Father!!’ her father Kapilajaṭa who was nearby was furious and cursed you all, ‘Fie upon you sinners; you all become humans at this very instant; go and marry Anaṅgaprabhā; the three of you will be relieved from this curse once she returns to the realm of vidyādharas; but you you would marry her after that and will find yourself in lot of trouble and finally you’ll be relieved from this curse only after propriating Vindhyavāsinī through intense tapas!’ As per his words you all were born as Pañcapaṭṭika and others; the three were relieved from their curse before; now it is your turn; take this sacred Agni discard your mortal body and burn the papa you have incurred in your previous eight lives.” he followed her advice and was elevated to being one of the gaṇas of Vindhyavāsinī. Meanwhile Anaṅgaprabhā became the favourite of Harivara; he would not leave her even for a single instance; he delegated all the royal duties to his minister Sumantra; once a dance master named Labdhavara arrived from the middle kingdom and demonstrated his expertise in dance and music. Impressed by that, the king appointed him to tutor the women of the royal palace. Anaṅgaprabhā surpassed everyone in her learning; due to the continuous association and similar taste, she became infatuated with Labdhavara. When they were alone in the dance school she took all her ornaments disguised herself as a man and ran away with him. They reached a place called Viyogapura and lived there happily. Harivara wanted to kill himself, but he was stopped by his minister Sumantra, ‘O king! She first left the vidyādhara and came with you; would such a woman stay put in one place? She might have gone with Labdhavara; it seems they both were together in the dance school today morning; such women are like the Sandhyā who is red/infatuated only for a moment!’ This helped the king to turn a new leaf and he lived happily with the other wives. On the other hand Labdhavara got entangled with a gambler named Sudarśana and lost all his money; Anaṅgaprabhā deserted her husband and became Sudarśana’s possession; Labdhavara disgusted renounced the world and reached the banks of the river Gaṅgā and started intense austerities in abid to discard his mortal body. After sometime, Sudarśana’s possessions were looted by thieves, he went to his friend who was a merchant by name Hiraṇyagupta to borrow some money; he saw Anaṅgaprabhā and was at once infatuated, he said, ‘I’ll give you money tomorrow; you have dinner and stay here tonight!’ Sudarśana gauged the situation and said he isn’t hungry. The merchant said, ‘If you aren’t hungry it’s okay; let her have dinner; she has come here for the first time’ By then, Anaṅgaprabhā too had lost her heart to him. So she went inside and partook of food and stayed on. She eventually even started sporting with him! Sudarśana on the other hand, who was waiting outside for her to return, got exasperated and questioned the servants: ‘Has she still not finished her meal?’. The servants sternly replied ‘She already finished her food and went home long ago! Why are you still waiting for her? Leave now!’. Sudarśana said adamantly ‘She has not come out. I know she is still inside. I am not leaving without her!’. A tussle ensued and the servants soon kicked him out. Sudarśana wondered helplessly ‘What just happened? Did my friend deceive me! Oh it serves me right. He did unto me what I had done unto another! Why should I get angry at him? If at all I should be upset, it should be at my own conduct!’. Then he lost interest in all worldly matters and became a recluse and went away to Badarīkāśrama. Anaṅgaprabhā, like a beetle which moves from flower to flower, cast off her current love interest in favour of another, and thus became the lady of the merchant Hiraṇyagupta.

Once Hiraṇyagupta took her along on his overseas business travels. In the high seas, the ship was caught in a severe storm and eventually capsized. Somehow the merchant and his wife managed to save their lives. Anaṅgaprabhā then clasped the hand of the navigator Sāgaravīra who helped save her life - for once a person’s conduct slips, there’s no depth to which one doesn’t slide. Hiraṇyagupta meanwhile thought that his wife was consumed by the sea, lamented for his fate, composed himself and went back again to his city. While she was with Sāgaravīra, she next met a handsome kṣatriya youth called Vijayavarman and soon fell for him as well. Then one day, she saw from her rooftop the king of the land, Sāgaravarma, travelling by that route atop his elephant. Needless to say, she got enamoured with him. She cleverly addressed the mahout thus: ‘Dear sir! I have never ridden an elephant before. I humbly wish to experience that joy at least once in my life. Can you please help me?’ When the mahout turned to the king, the latter nodded and replied ‘Get the elephant close to her house!’. When the mahout did as commanded, she suddenly jumped to the king’s lap, and embraced him tightly as if she was scared for her life! The trick worked and the king was overjoyed. He took her back to his palace and listened to her saga and it was not long before he made Anaṅgaprabhā his chief queen. The brave Vijayavarman tried to claim her back, but was slain by the king’s guards in a fight.

Finally Anaṅgaprabhā settled down for good with King Sāgaravarman. She bore him a son called Samudravarman. When the prince came of age, the king declared him the heir-apparent and had him marry a beautiful girl called Kamalavatī, the daughter of king Samaravarman. Prince Samudravarman soon became renowned for his valour and subdued many kings in battle. The king decided that the time was right and handed over the reins of his kingdom to the prince. Samudravarman was then crowned as the king. Sāgaravarman then moved to Prayaga with this queen to undertake austerities.

In Prayaga, Sāgaravarman undertook severe penances and was eventually visited by lord Śiva one night in his dreams. The lord said ‘My dear man! You and Anaṅgaprabhā will turn into vidyādharas tomorrow and return to your rightful realm!’. Anaṅgaprabhā too had the same dream. She recollected her previous birth and told her husband about it. At that moment, her father Samaradeva came down from the skies. Both Anaṅgaprabhā and her husband paid him their respects. He said ‘Dear daughter! You have experienced in one life, the strife and tribulations of eight births; here, now take these powers!’. Then turning to Sāgaravarman, he said ‘My boy, you are in fact Madanaprabha. My daughter should have married you as a vidyādharī, long ago. At that time, however, she refused to do so and finally wedded you in the mortal world!’. Right then, even Sāgaravarman got back the memories of his previous birth. The next instant, all of them took to the skies and flew to Vīrapura, where they lived happily ever after.

Listening to this amazing story narrated by Gomukha, Naravāhanadatta and Alaṅkāravatī were very happy.

3. On yet another day, Marubhūti who saw Naravāhanadatta seated with Alaṅkāravatī said – ‘Deva! Look at the poor kārpāṭika. He covers his body with a patch of skin, has long unkempt hair, has his body covered in dust and looks very weak. Day and night, without caring for cold or heat, he waits at the siṃhadvāra. Why aren’t you compassionate about him yet? A penny that is donated at the right time is more valuable than crores of money. What is the use of donating bountifully at the wrong time? Therefore, show sympathy towards him before he gives up his life!”

Gomukha, who heard his words said – “Marubhūti has spoken quite appropriately. However, the king is not at fault here. Though the king wishes to provide for him, he cannot do so until the receiver has gotten rid of his pāpa. Once he overcomes his pāpa, Īśvara will certainly provide for him, even if he does not wish to receive anything. All this is dependent on the karma acquired by a person. Let me narrate the story of Lakṣadatta and seeker of alms named Labdhadatta in this connection”

The Story of Lakṣadatta and Labdhadatta

There lived a king called Lakṣadatta in a city by name Lakṣapura. He was very generous. He never gave anything less than a lakh to anyone who sought anything from him. He would donate five lakhs to anyone who had a conversation with him. If the king was pleased with anyone, it was as good as the person’s poverty coming to an end. A certain seeker of alms named Labdhadatta always waited at the door of his palace. The king had not given him anything for quite a long time.

Once, when the king set out on hunting, the seeker followed him too. While the other men killed animals with their arrows, the seeker went ahead of them all on foot and killed animals using his staff. Looking at this, the king thought – Aha! He is so brave! He just appreciated him in his mind but did not give him any reward. They returned from their hunting expedition and the seeker took his position at the siṃhadvāra once again.

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 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

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

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...