Mahābhārata – Episode 21 – Draupadī’s Infinite Saree; Bhīma Vows to Kill Duśśāsana

Duśśāsana pulled Draupadī’s garment and taunted her in vulgar language, even as she lamented, looking helplessly at the pale faces of her husbands. Her garment was dropping off her shoulder. Looking at this, Bhīma was greatly pained and told Dharmarāja in a furious tone, “O King! Gamblers never go to the extent of pledging their servants out of compassion for them. The Kauravas, through deception, have won over everything that was in our possession – the treasures that the king of Kāśi had offered to us as a sign of respect, our chariots, our weapons, and the entire kingdom. They haven’t spared even you and your brothers. None of this angers me because you are the lord of all. But it was not right to pledge Draupadī in the game of dice. She does not deserve such treatment at all. Having married the Pāṇḍavas she is undergoing so much of pain. Why should she be subject to humiliation at the hands of the Kauravas? This has enraged me and I’m terribly angry with you. Sahadeva! Get some fire. Let us burn both his hands!”

Arjuna said, “Bhīma! I’ve never heard you speak like this before! It appears that you ’ve lost your dhārmic conduct because of the cruelty of the Kauravas. Please don’t give up dharma! Don’t override the words of our elder brother—Dharmarāja—who always abides by dharma. They called us for a gamble and we had to accept their invitation as per the Kṣatriya-dharma. It certainly brings us good reputation as we did not turn down their invitation!” Bhīmasena replied, “I know all that, Arjuna!” As Pāṇḍavas were engaged in a verbal feud and Draupadī continued to cry in pain, Vikarṇa, the son of Dhṛtarāṣṭra addressed the people present in the court: “Revered kings! Reply to the questions posed by Yājñasenī. Bhīṣma, the oldest of the Kurus; Dhṛtarāṣṭra; Vidura, the wise one; Droṇa and Kṛpa, the ācāryas – all have chosen to remain silent! Let us abandon lust and anger and speak out our minds.” No one reacted to Vikarṇa’s words. He squeezed his hands in despair and said with a sigh, “It does not matter to me whether you all choose to speak or not; I shall speak whatever I think is dharma: The learned say that hunting, addiction to liquor, gambling, and falling prey to baser instincts are the four major vices of all kings. A king who has taken to such vices will forego the path of dharma. His acts are never revered by the world; Yudhiṣṭhira accepted the invitation to gamble and even pledged Draupadī in it. Moreover, she is the wife of all the Pāṇḍavas. Yudhiṣṭhira pledged her after having lost himself to the Kauravas. Śakuni instigated Yudhiṣṭhira to do so. Taking all of this into consideration, I have come to the conclusion that she cannot be a slave to the Kauravas.” The people assembled in court heard his words and started hailing him. They also condemned the acts of Śakuni.

Image courtesy:- Google Image Search

 

Once the commotion had come down, an angry Karṇa flexed his arms and said, “There are too many faults and inconsistencies in what Vikarṇa has spoken. Just as fire, born out of a wooden stick burns it, Vikarṇa has set fire to the house in which he was born. Everyone else has remained silent, choosing not to comment, as they are convinced that Draupadī was won over by us in a dhārmic manner. Vikarṇa! You are still a young child and yet you speak like an elder – that is merely your mischief. You say that Draupadī was not won over by us in the gamble. Do you know dharma? While you say that Yudhiṣṭhira lost everything that belonged to him, how do you say that Draupadī was not lost too? Isn’t Draupadī one of the things in the ‘everything’ he has lost? Śakuni has won over the wealth of the Pāṇḍavas, the five brothers, and Draupadī in a dhārmic manner. Duśśāsana! Though a boy, this Vikarṇa speaks with the tone of a superior. Snatch away the clothes that the Pāṇḍavas and Draupadī are wearing!’ Hearing these words, the Pāṇḍavas threw away their upper garment. As Duśśāsana tried to pull Draupadī’s saree, there appeared another saree of the same of the same kind to take its place. He pulled that out too and one more of a similar kind appeared. As he pulled the sarees one after another, newer ones kept coming. There was a huge commotion in the court as the kings watched this astonishing scene. Bhīma stood amidst them and was boiling with rage. With his quivering lips, he shouted, “Kṣatriyas! Listen to my words! No one has spoken words like this in the past and there will be no one in the future who can speak so. If I don’t act as per my words, may I never reach the heavens that my ancestors have attained! I shall tear open the evil Duśśāsana’s chest and suck out his blood!” He vowed to carry out his words, under any circumstances.

There was an endless manifestation of Draupadī’s sarees and Duśśāsana got tried to trying to disrobe her. He felt humiliated as his efforts turned out to be futile. There was a heap of sarees fallen in the court. Everyone rebuked him and appreciated Bhīma. They criticised the Kauravas for not answering the questions Draupadī had posed and disapproved of Dhṛtarāṣṭra’s behaviour. The wise Vidura stood up, waved his hands trying to bring the court under control and said, “Dear all! Draupadī is crying like an orphan and is seeking help. No one is caring to reply to her questions under the current circumstances. These are questions of dharma and the way of dharma is subtle. It is the duty of the court to provide justice and take care of the needy. When a question related to dharma is posed, people in power should answer it without getting carried away by emotion. They should answer the question in an unbiased manner without being subject to lust, greed, and anger. Vikarṇa said whatever he felt was right. You all may feel free to speak your mind too, just as he did. If people who know dharma remain silent, it is as good as telling a half-life. If your answers sound irresponsible, it is as good as speaking an absolute lie. Please give suitable answers to the questions Draupadī has posed!” And yet, no one replied. Draupadī addressed the gathering, “Look! My salutations to this assembly! I should have done this long back. As the wretched fellow was dragging me with force, I was unable to offer my salutations before.” With these words, she collapsed on the floor in sorrow. She cried uncontrollably. “No one else other than the kings who had come for my svayaṃvara had seen me. When I was at home, even the Sun and the Wind had not seen me. Now I’m standing here in the middle of this assembly, helpless. The Pāṇḍavas could not tolerate it even if a wind blew past me. But now they remain silent even as they see me getting dragged by the evil one. The Kauravas are quiet while their daughter-in-law is suffering. This is certainly due to the play of Time. What can be more pitiable than a noble lady like me standing here in the court? Where has the dharma of kings vanished? I am the wife of the Pāṇḍavas, the sister of Dhṛṣṭadyumna, and friend of Vāsudeva – should I be dragged into the court? Kauravas! You decide and tell me – am I a dāsī or not. I shall act as per your word. This wretched fellow is pulling my garment. I will not be able to put up with it for long!”

Image courtesy:- Google Image Search

 

Bhīṣma said, “Dear child! The working of dharma is subtle and hard to understand. Even the learned ones find it difficult to understand. I have said this before too. Whatever the strongest one in the world considers to be dharma, stands as dharma forever. Your question is indeed profound, deep and subtle. I will not be able to answer this even if I put in a lot of thought. One this is for certain – the Kuru lineage is nearing its end. It is probably for this reason that the Kauravas are being driven by greed and lust. A person like you, who is born in a good family and is dhārmic in conduct will never forego dharma, even when faced with the most intense of sorrows.  Droṇa and the others who are well-versed in dharma sit here with lifeless bodies. In my view, only Yudhiṣṭhira can resolve the issue. He should tell us if he has lost you in the game.” Hearing this, Duryodhana said, “Put aside Yājñasenī’s question for a moment. Let your husbands – Bhīma, Arjuna, Nakula, and Sahadeva say that they have no right over you. Or let Yudhiṣṭhira utter this. People assembled here have chosen to remain silent because they know that Pāṇḍavas don’t have fortune on their side and have lost everything!” People who were silent until now out of their fear for him, now started lauding his words. They turned towards Dharmarāja and the other Pāṇḍavas and curiously waited to see what they would say. Bhīma said, “If Dharmarāja were not to be the head of our family, we would never have tolerated so much of injustice. He is equally responsible for our lives and virtues. If he considers himself lost, it means that we are all lost too. If not, who can escape from my powerful arms, after having touched Draupadī’s hair? I have brought myself under control as I am bound by dharma, out of respect for my elder brother and having been stopped by Arjuna. If Dharmarāja permits me, I shall kill these sinful Kauravas just as a lion kills other animals!” He patted his biceps as he said these words. Bhīṣma, Droṇa, and Vidura came in his way and stopped him. They said, “Bhīmasena! We know that you are capable of all this and much more. Please control yourself!” Karṇa spoke next. “These three don’t understand that she is now our slave and we can use her the way we want. We are your lords. Come, walk into our homes now. You can help in the household chores. Get married to a person who will not lose you in a gamble! As the Pāṇḍavas are now our slaves too, they are no longer your husbands. Can we consider Dharmarāja as someone who knows your value, after he has pledged you for gamble? Should we consider him a courageous person?” Bhīma’s anger was again kindled and he was about to erupt. But he tolerated it all and let out a sigh.

To be continued…  

This is an English translation of Prof. A R Krishna Shastri’s Kannada classic Vacanabhārata by Arjun Bharadwaj and Hari Ravikumar published in a serialized form. Thanks to Śatāvadhāni Dr. R Ganesh for his thorough review and astute feedback. Additional segments from the epic and notes by the translators have been added in the footnotes after going through the Critical Text of the Mahābhārata.

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.

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

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...