Kathāmṛta - 66 - Alaṅkāravatī-lambaka - The Story of Nala

This article is part 66 of 133 in the series Kathāmṛta

Carrying with him the message of the deities, Nala entered the inner apartments of Damayantī and repeated the command of the deities. She heard those words and said, “Let the deities be how they are! Even so, Nala is my husband. I have no need for these deities!” Following this Nala introduced himself and then returned to Indra and the others; he narrated to them everything that had transpired. They said, “O noble one! You are an honest man and so we are at your beck and call. Just think of us and we shall be present at your service.” Nala then went on to Vidarbha. The deities, intent on deceit, went to the svayaṃvara assuming Nala's form and sat next to Nala. Once the svayaṃvara began, Damayantī's elder brother started introducing the kings to her, one by one. She ignored them all and went directly to where Nala was seated. When he arrived there, she perceived six Nalas and she was perplexed. She thought to herself: “This is an illusion created by the lokapalas. The sixth one is Nala. I need go no further!” Staring at Sūrya, having only Nala in her mind, she said, ‘Oh the lords of the directions! If I’ve none but Nala in my heart, if I have never, even in my dreams, thought of any other man, if this is indeed true, show your true forms! Except the one who is in her heart, for a woman all other men are just strangers; for them too she is a stranger’s wife, someone worthy of respect! So why covet someone like that?’ Hearing that all the five deities revealed their original forms. Damayantī happily chose Nala by garlanding him. There was a shower of flowers from the heavens. Bhīma happily gave her hand in marriage to Nala. Indra and other deities were on their way back when they encountered Kali and Dvāpara, the personification of the two ages. Guessing that they were going for Damayantī, they informed them, ‘Don’t go to Vidarbha now; we are coming from there; the svayaṃvara is over; Damayantī has chosen Nala’ Both Kali and Dvāpara were enraged, ‘Leaving deities like you how did she choose a mere mortal like Nala? We will separate them!’, they both vowed. Nala stayed in his in-laws’ place for a week and returned to the kingdom of Niṣadha. Their love surpassed even the love of the primordial couple Gaurī and Śaṅkara. While for Śaṅkara, Gaurī occupied only half his body; in case of Nala wholly he was Damayantī; after sometime they had two children, a son named Indrasena and a daughter named Indrasenā.

Meanwhile Kali was waiting to find some flaw. But Nala never violated any dictum prescribed in the śāstras; so he had to wait for a long time; once in an intoxicated state, Nala didn’t wash his hands and feet, nor did he perform sandhyāvandana, and slept. Kali, who was waiting day and night for such an opportunity, immediately entered his body. From that very instant, Nala started following his own whims straying away from the path of dharma - he gambled, sported with the servant women, uttered lies, slept throughout the mornings, was wakeful in the nights, got angry without reason, extracted money unjustly, humiliated good people and showered praises on the bad ones. Dvāpara meanwhile entered the body of his brother Puṣkara who also had gone astray like Nala. Once Nala saw a white ram in his brother’s house and wanted to possess it; Puṣkara didn’t oblige; he said, ‘If you want it so badly, win it from me by gambling!’ Nala agreed. The brothers started the game of dice; Puṣkara’s stake was the ram itself; Nala placed his elephants; Puṣkara won and his winning run was unprecedented; in two days Nala lost everything in his royal treasury; Being possessed by Kali, he turned deaf to good counsel. Damayantī thought that he had lost everything and so she sent the children to her father’s place. By then Nala had lost the whole kingdom too. Puṣkara goaded him even further, ‘I’ve won everything that was yours; now pledge your wife against this ram!’ Nala was enraged. But seeing the time to be unfavourable he didn’t speak anything; he didn’t place Damayantī as the stake; Puṣkara said, ‘If you aren’t willing to place her, get out of my kingdom along with her!’ Nala did likewise; the attendants saw to it that he reached the borders of the kingdom. If Kali can bring down such a great king Nala then what would be the fate of others! Gambling is the life’s occupation for Kali and Dvāpara. Downfall of even the greatest rājarṣis can be plotted through this vice. It causes all friendships and dharma to perish. Thus Nala, losing all his wealth to his younger brother, was expelled from the kingdom, with Damayantī in tow. Empty handed and wandering through the lands and forests, suffering due to tiredness, hunger and thirst, they finally came to the edge of a pristine lake. When two swans arrived there, Nala felt this was their chance to get some food. To catch them, he cast his upper garment on them. But the crafty swans flew up to the sky taking with them the piece of clothing. A voice from the skies spoke solemnly: ‘O Nala! The dice you cast in gambling came in the form of swans and took even your clothing away!’ Nala and Damayantī were disillusioned.

Sitting in a single piece of clothing, with a heavy heart, he said to Damayantī: ‘Dear one! This is the route to Vidarbha. This one goes to Aṅgadeśa. And that one, to Kośala!’. Thus, Nala cleverly tried to point to her, the path of her father’s home. The noble queen Damayantī listened to this and was aghast and thought ‘Does āryaputra (my husband) wish to forsake me!’. Partaking of the fruits they found there, they spread grass and slept for the night. Due to the strenuous walk, Damayantī soon fell fast asleep. Nala, however, goaded on by Kali, wished to forsake her and stayed awake. He tore off half of the cloth she had spread on her and wrapped himself with it and walked away from there. A clueless Damayantī woke up next morning and to her horror, couldn’t find her husband there. She wailed aloud since Nala had forsook her. She cried: ‘O Āryaputra! O you with divine qualities! You show mercy even to your sworn enemies. Why would someone like you be so cruel towards me who loves you the most! How will you be able to walk alone in the forest? Who will relieve you of your tiredness? Who will serve you? If I have remained a dutiful and chaste wife, may the gods bless at least you with all goodness - even if it comes at the cost of my daughter, son and myself!’. Grieving thus, she eventually took the path to Vidarbha that Nala had pointed at earlier. On the way a hunter rescued her from the coils of a great snake. But then, he soon coveted her and made unwanted advances towards her. Through the power of her fidelity, Damayantī’s gaze reduced him to ashes. Then luckily she came across a caravan of traders passing through the woods and joined them. She went along with them to the land of king Subāhu. The princess of the kingdom who was seated in the balcony of the palace, noticed the beautiful Damayantī shining through the crowd and invited her in. She ushered Damayantī into the care of her mother, the queen. When asked about her story, Damayantī only replied politely that her husband had forsaken her.

In the meanwhile, king Bhīma came to know of the fate that had befallen Nala and Damayantī and sent his trackers everywhere to search for them. Among them, a minister called Suṣeṇa wandered around and finally came to Subāhu’s kingdom in the guise of a brāhmaṇa. Since she was on a lookout for whoever comes from out of town, Damayantī saw and recognized Suṣeṇa as the minister of her father. Suṣeṇa too recognized her. He managed to secure an audience with the king and queen. The queen, upon inquiry, came to know that Damayantī was none other than the daughter of her own younger sister. Then a chariot and retinue with troops were arranged to ferry Damayantī and Suṣeṇa back to Vidarbha.

Once she reached the kingdom of her father, king Bhīma, Damayantī was reunited with her children. She lost no time in starting to search for her beloved husband Nala. Her father appointed spies and asked them to search the length and breadth of the whole land. He said ‘Nala is well versed in the science of cooking and the secrets of horses. I hope this will help you spot his presence. If you suspect he’s nearby where you are looking, do have this verse announced:

बालां वने प्रसुप्तां नृशंस संत्यज्य कुमुदिनीकान्तां |
प्राप्यैवाम्बरखण्डं चन्द्रादृश्यः क्व यातोऽसि ||

[O cruel Moon! Having attained a portion of the sky for yourself (Taking with you a piece of her cloth), completely forsaking your beloved - the lily (lily-like frail and innocent beloved), who lay asleep in the forest, where have you gone invisible?]

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

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...