Kathāmṛta - 90 - Śaśāṅkavatī-lambaka - The Story of Akṣakṣapaṇa and The reunion of Pracaṇḍaśakti and Mṛgāṅkadatta

This article is part 90 of 133 in the series Kathāmṛta

Akṣakṣapaṇa's Story

There lived a wealthy brāhmaṇa by name Śivadatta in the city of Hastināpura. I am his son; my name is Vasudatta; even in my boyhood I learnt the Vedas and the śāstras; my father got me married to an illustrious girl from a noble family.

But my mother is short tempered, difficult to please. After my wedding, my father got fed up with household duties, and he ran away. Seeing that I tried my best to keep my mother placated; my wife also, out of fear, behaved at her best. But that was not enough; my mother would actively search for reasons to pick a quarrel. If we were silent she would accuse us of being indifferent; if we spoke softly she would accuse us of showing fake respect; if we answered her she would accuse us of confronting; can anyone pack the fire in such a way that it wouldn’t burn? Her unfavourable conduct made my wife’s life miserable and she also finally ran away. When I was also about to run away, my relatives forced me to stay, found another girl and got us married to each other; she also couldn’t bear the torture and she killed herself by hanging; I thought at least now I can get away; but again my relatives disagreed; I had no other choice but to describe the dastardly conduct of my mother; I narrated the reasons for all the events which had happened starting from my father’s abandonment; but they didn’t believe me. So I bought a doll, reported that I’ve married again, brought it to my house, placed it in a room, and made one of the housemaids to guard it. I told my mother, “O mother! I have placed your new daughter-in-law separately; let us stay here itself separately; she is very young; she wouldn’t know how to serve you yet; you need not go where she is; she also need not come to you.” she agreed. But in spite of trying hard, she could never venture inside that room; the bolt remained fastened always. She brought a huge rock, smashed her head on it, while the blood was oozing she came out of the house and started crying loudly. I along with my relatives asked what happened. She complained that it was all the daughter-in-law’s fault and she is going to die. When the relatives started scolding me, I ushered them into the room. Seeing the doll they all believed me and returned back. With the coast clear I came out and by fate reached this gambler’s den. I got acquainted with such courageous folks like Caṇḍabhuja, Pāmsupaṭa, Śmaśānavetāla, kālavarāṭaka, Śāriprastara and others. I placed a bet saying that the people who lose would serve the people who won and made them all my attendants. But I became the slave of their noble qualities and due to their friendship I’ve forgotten all the sorrows. By our past puṇya you have joined us; please become our lord!

Thus Akṣakṣapaṇa narrated his story and the others with him introduced themselves one by one. He spent time with these courageous friends and the rainy season approached, causing the sea to flood the Vipāśā river. When the flooding subsided, the sand it had brought had stayed and so was a huge fish. Seeing the fish all them came with their weapons and started slashing it. From the belly came out a brāhmaṇa youth who was still alive. There was a lot of commotion among those who had witnessed this extraordinary incident. When Bhīmabhaṭa stepped forward to see who it was, he saw that it was none other than his friend Śaṅkhadatta! The reunited friends embraced each other and their joy knew no bounds. Then Śaṅkhadatta narrated his story in brief thus:-

After we got separated in the Gaṅgā, even before I could realize what was happening, a big fish swallowed me whole. I thus entered its huge mansion-like belly. Then on, in order to stay alive, I used my knife to slice off and eat little pieces of its innards. Today it seems as though God just decided to hurl the fish here. All these good people then thrashed it and pulled me out. Today I feel immensely blessed to see you and the sun again. This is all I know!

Listening to this fascinating story, everyone who had gathered there exclaimed with astonishment: “What are the chances of a fish swallowing a man whole in the Gaṅgā, and later wading into the sea only to be driven back up the river Vipāśā in a flood! And what’s more, we kill that fish and then a man, miraculously still alive, emerges from it! Can there be a greater wonder than this! Who can fathom the ways of fate!”.

A few days later, on the day of the festival of nāgarāja, Bhīmabhaṭa and Śaṅkhadatta went to see the temple fair. To the right of the temple was a huge lake. Haṃsāvalī, the beautiful daughter of the king Candrāditya of Lāṭa had come to bathe in its holy waters. Bhīmabhaṭa and Haṃsāvalī saw each other and instantly fell in love. The love-sick Haṃsāvalī ascertained who Bhīmabhaṭa was through her friends and then beckoned him to meet her at the palace. Bhīmabhaṭa replied that he would indeed present himself later that night unseen by anyone, using the powers of his invisibility-mantra. True to his word, Bhīmabhaṭa met Haṃsāvalī and married her in the Gāndharva way and spent the night there. Next morning, the royal guards of the inner chambers observed how their princess had changed and brought it to the notice of their king, who in turn instructed his spies to learn more of this development. Soon the spies came back and informed king Candrāditya that an invisible man had been visiting the princess in her chambers. The king replied: “He who possesses the power of invisibility cannot be a mere man. So go forth and bring him here. Talk to him cordially and convey these words of mine: ‘If you were to appear before me and seek my daughter’s hand in marriage, would I say no to you? Why this shroud of secrecy? It is but someone like you whom we wish our daughter would wed!’”. The spies waited at the entrance of the princess’ chambers and relayed the king’s message to Bhīmabhaṭa, who replied: “Why bother his majesty at this hour? Please inform the king that I shall present myself to him tomorrow morning and reveal everything!”.

The next morning, Bhīmabhaṭa wore his best clothes and went to the palace of king Candrāditya with his seven valorous friends. The king received them with due respect. Śaṅkhadatta proclaimed: “O king! This is Bhīmabhaṭa the son of King Ugrabhaṭa of Rāḍhā. He seeks your daughter’s hand in marriage!” . The king was overjoyed. With a sense of gratitude, he blessed Haṃsāvalī and Bhīmabhaṭa and arranged their wedding with full pomp and splendour. In due course of time, Candrāditya handed over the reins of the kingdom to his son-in-law, Bhīmabhaṭa and retired to lead the life of an ascetic.

As time passed, one day, Bhīmabhaṭa learned through his spies that his father had crowned Samarabhaṭa king and had gone to Prayāga and eventually cast off his mortal form. He then performed all the prescribed rituals for his departed father and shot off this message to his younger brother: “Idiot! Son of a dancing woman! What right do you have over our father’s throne? I reign over the kingdom of Lāṭa. Be that as it may, you have no right to rule!”. Samarabhaṭa was enraged reading his long writing. He wrote  – “My father got you thrown out of the country as he found you ignoble. Why do you have such a false sense of pride? A fox too lives like a lion in its own cave; only when it encounters a real lion does it get to know its real worth!”  He sent this with his messenger.
Bhīmabhaṭa read it and laughed out loud – “O messenger! Go tell that son of the dancer – Śaṅkhadatta saved you when you caught hold of the horse. I cannot keep forgiving you with the consideration that you are the favourite son of our father. I will certainly send you to your beloved father. Therefore, get ready. I will reach there in a few days”
The two fought. Samarabhaṭa lost his life in the war. Finally, after a long time, Bhīmabhaṭa caused immense pleasure to his mother, just as Rāma pleased his mother Kausalyā. The citizens placed him on his father’s throne and coronated him as the next king. He too felicitated his citizens and took good care of them. He handed over the kingdom of Lāṭa to his friend Śaṅkhadatta and coronated him the king. He gifted a bounty of wealth and several villages to Akṣakṣapaṇa and others. He went on a jaitra-yātrā – a dhārmic conquest, won over newer provinces and ruled over the kingdom in comfort.
One day, a muni named Uttaṅka visited him. Though his doorkeepers and messengers informed him about it, he was lost in his arrogance for having acquired a lot of wealth and paid no heed to the news of his arrival. The muni was enraged and said – “You arrogant fool! You will lose your kingdom and roam around as an elephant.” The king was shocked and scared upon hearing the curse. He rushed out, and fell at the muni’s feet. The muni gave up his anger and said – “You will definitely become an elephant; that is not wrong. You will console a person named Pracaṇḍaśakti, who would have gotten afflicted by nāga-pāśa. You will take care of him, listen to his story and tell him your background in return.  You will then be relieved of the curse and will attain the status of a gandharva as per the wishes of Īśvara. Your guest, Pracaṇḍaśakti too will get his eyesight back!”
I, in the form of elephant, am Bhīmabhaṭa. I guess you are the famed Pracaṇḍaśakti. Here ends my curse – with these words, Bhīmabhaṭa gave up his form as elephant and turned into a gandharva. Pracaṇḍaśakti too got his eyesight back and saw the gandharva.
Mṛgāṅkadatta who was watching and listening to this hiding behind foliage, came running towards his minister Pracaṇḍaśakti and embraced him. The minister too was surprised to see his lord and was thrilled at his nectar-like embrace. He fell at his feet. Mṛgāṅkadatta bowed down to the gandharva, folded his hands and said – “It is because of you that I have procured this friend and he has got his eyesight back. My salutations to you!” The gandharva said – “O king! You will soon meet the rest of your friends, procure Śaśāṅkavatī and the kingdom. Don’t get scared. If you have a task for me, I will come to you even if you merely think of me.” With this promise, he left the place.

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 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...