ZARAA (JARAA)

                                                   

ZARAA (JARAA)

Zaraa (JARAA) was a harpy (Raakshasi) . Though she was a harpy she loved human beings. It is believed that if the picture of Zaraa and her children is placed in the house and venerated, there will be no haunting of any other 'kinds of demons. The figure of Zaraa was sculptured on the wall of the Palace of Bruhadratha, the King of Magadha, and was being worshipped, because the King worshipped her, she had been looking forward to an opportunity to reward the King.

Brhadratha had married two daughters of the King of Kasi. They were twin sisters. For a long-time they remained childless. The King was very sorry, and went to the forest with his wives. He saw the hermit Kakshivan or Chandakausika, the son of Gautama and requested that a son should be born to him.

The hermit was sitting in meditation under a mango tree and a mango fell on his lap. The hermit took it and by prayer and meditation he invoked divine power into it and gave it to the King. The King divided it into two and gave it to his wives. The queens became pregnant and the three returned joyously. In due course both delivered. But each of them gave birth to only half of a child. The horrified queens took the uncouth figures outside the palace and left them there. Zaraa was watching this. She ran to the spot and placed the two portions together. Instantly it became a child of proper form. Hearing the cry of the child the mothers, came out.

Zaraa appeared there and placed the child before the King Brhadratha.  As desired by Jara the child was named Zaraasandha (Jarasandha) because he was joined together by Zaraa. This child grew up and became the notorious King Jarasandha of Magadha.

It is mentioned in Mahabharata, Drona Parva, Chapter 182, Stanza 12 that when Arjuna fought with Jarasandha, this harpy Zaraa had been staying in the weapon of Jarasandha and was killed in that fight.

                  

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YAMUNA

 

YAMUNA

 

Yamuna or Yami was the daughter of the Sun God, Vivasat or Surya and the Samjna (“consciousness”). Their union produced twins: Yama, the Lord of Death and Yami, Goddess Yamuna. In the early scriptures, the Rig Veda, the Lord of Death, Yama Dev, is also portrayed as the “King of Righteousness.” Seven rishis (sages) led by Rishi Jayamuni came together at a place we now know as Saptarishi Kund. They prayed and performed intense “tapasya”, so that one day Goddess Yamuna would be pleased with them and leave her home in the heavens to be on Earth for the benefit of mankind. Their wishes were fulfilled when Goddess Yamuna appeared as a small girl in Yamunotri.

It is believed that Goddess Yamuna desired her devotees who would visit her at the source in Yamunotri, a cold glacial location, to be comfortable. Therefore, she requests her father, the Sun God, to make this location “more attractive and pleasant”. 

According to the Puranas, Goddess Yamuna then requested her twin-brother, Yama Deva, the God of Death, to grant life to her devotees who visit her, worship her, and take a dip in her waters. Blessings from Goddess Yamuna would save a worshipper from the tortures and punishment from Yama Dev. In effect, Yamuna “bargains with her brother Death for her devotee’s life”.

 

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XSABARI (SABARl)

 

XSABARI (SABARl)

 

XSABARI (SABARl) was an aged woman of the tribe of forest-dwellers. Sri Rama, during his life in the forest, gave her salvation.

Xsabari, in her former life, was the only daughter Malini of the Gandharva King, Chithrakavacha.  An erudite scholar, Veethihothra, married her.  As he was ever immersed in contemplation of Brahman his wife Malini, (later Xsabari) kept one hunter, Kalmasha, as her paramour, and her husband cursed her thus: "As you have become a lover of the hunter, you turn out to be a hunter-woman."

At the Suburbs of Maathanga's hermitage, Malini in tears sought redemption from the curse from her husband, and he told her that she would get absolution from her infamy and the curse from Sri Rama. Immediately she was transformed into a hunter-woman and she came to the suburbs of Maathangaasramam. She took a special liking for the place, the reason being that the flowers in the aasramam possessed a special fragrance. Once while the disciples were carrying a load of flowers for the muni (Maathanga) a few drops of sweat from their bodies fell on the ground, and the muni blessed that the trees and creepers, which grew up from the sweat and their flowers would never fade.

This is described as follows in Canto 73, Aaranyakaandam of Valmiki Ramayanam. "Oh ! Rama ! nobody plucks and wears those flowers. They neither fade nor fall down. While the disciples of Maathanga were carrying a load of flowers for him, they sweated on account of exhaustion and some drops of sweat fell on earth which developed themselves into flowers due to the prowess of the guru's tapas. Even today may be seen there Xsabari, who has taken to sanyaasa and who tends the flowers. She will attain heaven only after seeing you."

Xsabari lived for long there serving Maathanga's disciples, performing tapas and learning knowledge about Brahman. At the time of the munis giving up their physical bodies they blessed Xsabari that without further delay she would meet Rama and get redemption from the curse. They also blessed that she would possess divine eyes to see hidden things and also the past and the future. After that she was spending her days awaiting the arrival of Rama.

It was the period of the life in the forest of Rama and Lakshmana. After visiting various aasramams, Rama at last came to Maathangasramam. Hearing about Rama's visit Xsabari had gathered a lot of fruits. Now, Rama and Lakshmana came and Xsabari received them most respectfully. After herself biting each fruit from every bunches to test its taste she gave the fruits for them to eat. The left-overs of Xsabari appeared as nectar to Rama. Then Xsabari told Rama thus: "When you go a short distance south-wards there is the beautiful stream called Pampa. You cross Pampa and advance a little further and you will reach mount Rushyamuka. On the top of that mountain lives Sugriva, son of Sun, and if you enter into alliance with him you will succeed in finding out and getting back Sita after annihilating the enemies. Oh ! Lord ! my salutations."

After speaking thus, Xsabari the great anchorite and chaste woman closed her eyes. Immediately she was transformed into Malini, the Gandharva damsel, and all at once a handsome Gandharva prince appeared there in a divine plane. It was Veethihotra, the husband of Malini.  After saluting Sri Rama, he took away his wife in a chariot to the Gandharva city.

 

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WASAVADHATTHAA (VASAVADHATTHAA) (26.04.2024)

 

WASAVADHATTHAA  (VASAVADHATTHAA)

          Wasavadhatthaa is the chief queen of the king Vatsaraja (Udhayana) in all the plays like SvapnaVaasavadhattam, Rathnavali, Priyadarsika, ThaapasaVathsaraajam etc.  According to the play Ratnavali, she is elderly and staid, her love for her lord is deep-rooted and is recognized as such later when VatsaRaja remarks “Priyaa munchathyadhya sphutamasahathaa jeevithamasau prakrushtasya premnah skhalithamavishahyam hi bhavathi” (134) means our attachment has developed from day to day owing to the feeling of love being mutually highly esteemed.  So seeing this slip on my part, never committed before, that intolerant darling of mine will surely give up life today; for, a blundering, when love reaches its climax, becomes intolerable.

She is well aware of the king’s fondness for a pretty face, and hence tries (Waasavadhatthaa herself tells that Oh! The carelessness of my servants! She will fall within the view of Him (King) from whose range of sight she has been assiduously kept away.  Well, I will say this much.  Then aloud, Maid Sagarika why have you come here, leaving away the Sarika (canary bird) when all attendants are entirely occupied with the Madana festival?) her best to keep Sagarika (Ratnavali) out of his sight.

Failing there, she is naturally jealous and as such interrupts the King in his love passages, but she is really affectionate at heart and her anger is of short duration.  This is amply illustrated by her almost instantaneous repentance at having spurned the King’s reconciliation. “Hajje! Kaanchanamaale! Tham thathaa charana-nipathitham Aaryaputhram avadheerya Aagacchanthyaa mayaa Athinishturam krutham.  Thadhidhaaneem svayameva gathvaa Aaryaputhram Anuneshyaami ” means Maid! Kanchanamaalaa! I acted very cruelly in coming away after having slighted my husband fallen at my feet in that manner.  So, I will now go personally and conciliate my husband.

Her tenderness of heart is shown when she readily confesses her secret, viz., the imprisonment of Sagarika in fetters, the moment she perceived her to be in danger of life.  Her magnanimity is shown finally when she willingly accepts Sagarika as her rival and sharer in her lord’s affection, her character thus appearing in a generous and lovable light.

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VASANTASENA

 

VASANTASENA

          Vasantasena, the heroine of the play Mrucchakatikam of the king Sudraka, is a professional courtesan born and bred as such; but she is as pure-minded as any lady of noble station.  She falls in love with Chaarudhattha (the hero of the play) the very first time she sees him at a festival in Cupid’s shrine, and from that time, she cannot tolerate the very idea of entertaining any other suitor; it is needless to remark that upon such as Sakara she looks with loathing and contempt.

          She is generous hearted, as is shown by her readily paying off the debt of Samvahaka, and releasing Madanika from her bondage with equal alacrity.  Her passion for Chaarudhattha grown so intense in the end that she goes to visit him as an abhisaarika, inspite of a raging thunderstorm; when in his house she gives a further proof of her generous nature by handing over her own ornaments to her lover’s son for making a golden toy-cart.

          When, finally, Sakara persecutes her with his attentions, she is ready even to accept death at his hands rather than prove faithless to one that was enshrined in her heart; and, to all appearances, she dies with his name on her lips.   She thus gives the greatest possible proof that lay in her power of the death of her affection and the loyalty of her love, for which she receives recognition later at the hands of king Aryaka, who bestows upon her title of a Vadhoo.

          The development of Vasanthasena’s passion has been delineated by the poet with touches of such tenderness as raise her character to a very high degree in our eyes; compare, for instance, her behaviour when Rohasena - the innocent-minded son of Chaarudhattha, declines to consider her as his mother because she happened to be wearing ornaments.  In fact, the more one sees of Vasanthasena the more on thinks of her as a Kulasthree and the less as a Ganikaa, so far removed she is from the ways that one naturally associates with the latter.

          And if we find the nature of Vasanthasena not rising to the high or sublime level of Sita or Sakuntala that is because the situation and environment are different.       

 

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URMILA

 

URMILA

Lakshmana married Urmila, the daughter of King Janaka and the sister of Sita. When Lakshmana went to the forest with Sri Rama and Sita, Urmila remained in Ayodhya.

Urmila gladly accepted and slept for 14 years without once waking up. She sacrificed 14 years of her life for the love she bore for her husband and to help him carry on with his duty towards his brother and her sister Sita. That proved to be a boon too. Urmila was the younger sister of the goddess Sita.

After the forest life, Sri Rama and Lakshmana returned with Sita. Lakshmana wondered if his wife could sleep instead of him. After hearing this, Nidra enquired Urmila regarding this, and the latter happily accepted the task. Oormila is notable for this unparalleled sacrifice, which is called Urmila Nidra.

When Sri Rama was ruling over the country, two sons were born to Lakshmana by Urmila. The elder son was named Takshaka and the second was given the name Chatraketu. At the instruction of Sri Rama, Lakshmana went to the Eastern sea and killed the foresters there and built there a city called Agati.

Takshaka was made the King of Agati. Lakshmana then went to the western sea and killed the Barbarians there and built a city called Candramati and made Chatraketu the King of that city.

Being punished by Sri Rama, Lakshmana drowned himself in the river Sarayu. After that Urmila jumped into a pile of fire and reached the world of Visnu.

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TEJASVATl

 

TEJASVATl

Tejasvati was A heroine in a story in Kathasaritsagara in Sanskrit intended to show that all happenings either good or bad are but the workings of fate. Tejasvati was the daughter of king Vikramasena of Ujjayini and was very beautiful. She never liked any male and so never wished to marry.

One day while she was sitting upstairs in her palace, she happened to see a young man passing that way and surprisingly was attracted by him. She sent her companion to him and informed him of her liking for him. He did not like the idea first, but the clever persuasions of the maid made him agree to a clandestine meeting with the princess at a temple at night that day. Tejasvati anxiously waited for the night to come. About that time a Rajput prince greatly grieved at the loss of his father and subsequent loss of his kingdom started on a tour to see an old friend of his father. That night, by sheer accident, he came and rested in the same temple where the rendezvous of the princess was fixed.

When night fell the princess came to the temple and without the least suspicion went and embraced the solitary figure sitting in the temple. The prince did not show any surprise and responded fully. The princess then understood all details of her lover and took him to his father the next morning. Somadatta (that was the prince's name) then told Vikramasena all his mishaps and Vikramasena got back all the lost kingdom of Somadatta and also gave his daughter in marriage to him.

 

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SAKUNTALA.

 

SAKUNTALA.

Sakuntala was a Foster-daughter of sage Kanva.   Sakuntala was a daughter born to Visva-mitra of the Apsara woman called Menaka. Visvamitra was engaged in intense tapas on the banks of river Malini in the Himalayas. Indra deputed Menaka to break the maharsi's tapas. She enticed him away from his tapas and got pregnant by him. But she forsook the child on the banks of Malini and returned to Devaloka. Birds gathered round the forsaken orphan-child. While Sakuntas i.e. birds were petting the child Kanva came that way, saw the child and took it with him to the asrama. As sakuntas had petted it, the child was named Sakuntala.

King Dusyanta of the lunar dynasty married Sakuntala and to the couple was born the famous Bharata. This is the original story about Sakuntala's married life. All the Indian languages contain two different versions of Sakuntala's life. One version is that related in Vyasa's Bharata and the second is that contained in Kalidasa's Sakuntala. Many scholars opine that in the matter of the Sakuntala episode Kalidasa has gone a step further and for the better.

Kanva brought up Sakuntala born to Visvamitra of Menaka in his asrama and she had two companions called Anasuya and Priyarhvada. All the three grew up and became maidens. King Dusyanta, who went out hunting in the forest followed a deer to Kanva's agrama where he saw Sakuntala watering the garden with her companions. Kanva was then away at Cakratirtha. Dusyanta, who fell in love with Sakuntala, married her according to the Gandharva rules and lived with her at the asrama for a few days. Meanwhile Sakuntala became preg- nant, and emissaries from the palace came and the King returned with them. He left the asrama after promising Sakuntala that he would soon return to her. He gave her his signet ring. Sad over the separation from Dusyanta and immersed in thought about him, Sakuntala was sitting there in the asrama when Durvasas came there. She did not see the maharsi nor welcome him respectfully. He got angry at this and cursed her that she be forgotten by him about whom she was so intensely thinking. Sakun- tala did not hear the curse either, but her companions who heard it begged pardon of the muni on behalf of Sakuntala and prayed for absolution from the curse. Then he said that if Sakuntala showed the King any sign about their relationship the King would remember her.    Her companions did not tell Sakuntala about the above incidents. Kanva gladly welcomed Sakuntala's wedding with Dusyanta. Days and months passed by, yet Dusyanta did not return and Kanva sent Sakuntala, in whom signs of pregnancy had become prominent, to the palace of the King in the company of Gautami and Sarrigarava. Anasuya reminded Sakuntala to take particular care of the signet ring.   On their way to the palace Sakuntala and others bathed in the Somavaratirtha, and nobody noticed Sakuntala losing from her finger the ring in the tirtha. They reached the King's palace. None noticed them. Dusyanta did not remember having even seen her. The signet ring was missing. After leaving Sakuntala at the palace her companions returned to the agrama. Menaka, whose heart melted at the pathetic wailings of Sakuntala led her to Kasyapa's agrama, left her there and returned to Devaloka. The signet ring lost by Sakuntala was swallowed by a fish, which was netted by a fisherman, who went about the streets to sell the ring extracted from inside the fish. Servants of the King took the fisherman captive. At the sight of the ring thoughts about the past dawned on the King and he remembered all about Sakuntala. His days became sad pondering over separation from Sakuntala. Sakuntala delivered a boy at the asrama of Kasyapa. The child was named Sarvadamana and he grew up as a courageous boy.

On his return from the devasura war, Dusyanta entered Kagyapa's airama where he saw Sarvadamana counting the teeth of a lion he had captured. Having heard details about him from the boy the King went inside the a£rama and saw Kasyapa and Sakuntala. He returned with Sakuntala and the boy to the palace with Kasyapa's blessings. It was this boy Sarva- damana, who afterwards became Bharata, the famous emperor of India.

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RATNAVALI

 

RATNAVALI

          Ratnavali is the heroine of the play Ratnavali written by the great emperor HarshaVardhana of Kannauj.  The play is named Ratnavali after the Heroine.  The Rathnavali or the “Jewel-Necklace” is a drama in four Acts, it is so named after the Heroine, the Simhala Princess Ratnavali, whose union with the King Udayana of Kausambi forms the theme of the play. Though Ratnavali is the original name, she is called by everyone as Saagarikaa because she was rescued from the ocean in which the ship was wrecked while she came from Srilanka to Kausambi. She is described as young and an uncommonly beautiful princess charming and accomplished – one who captivates the Hero’s mind at the mere sight of her picture.

          Her character is not drawn to represent her in the glory of the maiden of high birth but to paint her in the grandeur of married life.  The chief noticeable thing about her is her great love for the King, with whom she falls in love at first sight, thinking him as handsome as Cupid.

          Her other trait is her extreme sensitiveness of feeling, and the slightest untoward incident plunges her into a depth of despondency so that she immediately thinks of death suicide. The following phrases -

“Sarvathaa maranameva mama mandhabhaaginyaa Upasthitham”

This means death itself has approached me, a luckless person, as indicated by this evil omen.

“JeevithaMaranayoranthare varthe” Means I stand between life and death.

“Varamidhaaneem svayamevaathmaanam abdhadhyoparathaa na punar jnaathasankethavrtthaanthayaa dhevyaa paribhoothaa” Means Better I should cease to exist (die) by hanging myself up, than be disgraced by the Queen on coming to know about our enragement-affair.

“Iyam rathnamaala jeevithaniraasayaa thayaa” Means This jewel-necklace was delivered into my hands by her, despairing of life” are the representations of weakness detract not a little from her character as a Heroine.

          The only receiving feature of her character indirectly indicated is her high sense of family honour which prevents her from disclosing her identity to even her friend Susangatha.

 

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QUBJA

  

QUBJA (KUBJA)

Qubja (Kubja) was an ugly woman.  Qubja became a widow in her very childhood, and she spent eight years in observing auspicious ceremonies.  As she took the ‘Maagha bath’ every year, by which she attained salvation.  This was the period when Sundha and Upasundha were harassing the world, and to destroy them, Qubja incarnated as ‘Tilotthamaa’ and hooked them by her excellent beauty.

They fought each other for her hand and got killed.  Brahma was pleased at this and granted Qubja a place in Suryaloka.

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PRIYADARSIKA

 

PRIYADARSIKA

    Priyadarsika is the heroine of the play PRIYADARSIKA written by the great emperor HarshaVardhana of Kannauj.   She was also called Aaranyika up to the time of denouement, because she was found in a forest.

Priyadarsika is colourless character, possessing no stricking intellectual or moral qualities.  She belongs to the variety of heroines  known as Mugdha, who is defined as “Mugdhaa navavaya kaamaa rathau vaamaa mrudhu krudhi”.  She is represented as a young maiden of rare beauty.

As soon as the king catches sight of her he bursts into a panegyric of her beauty “Paathaalaath bhuvanaavalokana dhiyaa kim naagakanyaa sthithaa” When she sees the king she falls in love with him and remarks that her father was right in promising her to him, thus preferring him to other suitors “Ayam sa mahaaraajah, yasyaaham thaathena dhatthaa, sthaane khalu thaathasya pakshapaathah”. She is extremely timid and sensitive.  She laments that her passion is hopeless and will never find its fulfilment.

She therefore longs for death that would relieve her of her sorrow – “Sarvathaa maranam varjayithvaa kuthah me hrudhayasya anyaa nirvruthih”.   Fortunately, she is cheered up and helped by her friend Manorama.  But she gives way to sorrow and despondency to such an extent that she actually takes poison.

Thus Priyadarsika evinces none of those qualities which constitute a great character.  There is, however, on admirable trait in her character also.  She does not reveal her identity to the last, even to her confidante Manorama and this speaks highly for her keen sense of family honour.

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OGHAVATI

 

OGHAVATI

         OGHAVATI was the daughter of the king named Oghavan and the wife of Sudarsana, the son of Agni.

There was a king of the name of Oghavan, who was the grandfather of Nriga. He had a daughter of the name of Oghavati, and a son too of the name of Ogharatha born unto him. King Oghavan gave his beautiful daughter Oghavati, to the learned Sudarsana. Sudarsana, leading the life of a householder with Oghavati, used to dwell in Kurukshetra with her.

This intelligent prince of blazing energy took the vow, by leading the life of even a householder. The son of Agni, said to Oghavati, Do you never act contrary to (the wishes of) those that seek our hospitality. Thou should make no scruple about the means by which guests are to be welcomed, even if thou have to offer thy own person. O beautiful one, this vow is always present in the mind, since for householders, there is no higher virtue than hospitality accorded to guests. You always bear this in mind without ever doubting it, if my words be any authority with you.  O sinless and blessed one, if you have any faith in me, do you never disregard a guest whether I be at your side or at a distance from you! Unto him, with hands clasped and placed on her head, Oghavati replied, saying,–‘I shall leave nothing undone of what you commanded me. 

After rendering hospitalities to the guests, at last the princess Oghavati turned into the river Oghavati.

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NALAYANI

 

NALAYANI

Nalayani also called Indrasena was none other Pancaali orDraupadi.  Draupadi had many previous births. During all these births many gods blessed her saying that she would have five husbands when she was born as the daughter of Drupada. Stories about her previous births lying scattered in the Puranas are given below: —

 Once there was an aged sage named Maudgalya. Nalayani alias Indrasena was the wife of Maudgalya. Even though the wife was young and the husband old, Nalayani was very chaste. The sage became very old, grey-haired and rugous, skeletonlike with a foul smell emanating from his body. He was always in an angry mood. Still Nalayani stuck to him as a chaste, loving and dutiful wife. As time passed on Maudgalya became a leper. One day while the sage was eating, a finger of his broke and fell into the rice. With great calmness and devotion Nalayani removed the finger from the rice and ate the rice. Greatly pleased at this act of hers the sage asked her what boon she wanted an 1 she replied she desired to have an amorous life with him as Pancasarira. Maudgalya granted her the boon and they both travelled the whole world enjoying an amorous life.

When the sage took the form of a mountain Nalayani became a river and when the sage took the shape of a flowering tree she became a creeper on it. They spent thousands of years like that and then Maudgalya became tired of a sexual life and returned to the ascetic life. Even after such a long period of erotic life Nalayani was still lustful and she resented the decision of her husband to go back to the life of a hermit. She begged her husband to continue the same life for some more time.

Maudgalya got cross when she thus caused hindrance to his penance and cursed her saying that she would in her next life be born as the daughter of the King of Pancala when she would have five husbands to satisfy her lust. Greatly grieved at this curse she practised severe austerities standing in the midst of Pancagni. Pleased with her penance Siva appeared before her and blessed her saying that she would be born in her next birth in a very noble family and she would then have five husbands, good-natured, doing godly work and equal in valour to Indra. She then pleaded that she should be granted the boon to remain a virgin during the coitus with each of her husbands. Siva granted that wish. Then Siva sent her to the river Ganga, and asked her to fetch a beautiful young man whom she would be seeing there. Accordingly she went to the river to do as she was directed.

At that time all the devas joined together and performed a Yaga at Naimisaranya. Kala, the god of Death, was one of the chief priests for the function. The Yaga lasted for a long time and since Kala was consecrated for the Yaga he did not attend to his duties as the god of Death. Death came to a dead stop and men increased in alarming numbers and the devas were perplexed. They went to Brahma and acquainted him with the frightening situation. Brahma sent them to Naimisaranya. They went there and were talking to Kala when they saw a few golden flowers coming down the river. Getting curious Indra walked up the river to locate the origin of these flowers.

When he reached the place of origin of Ganga he saw Nalayani there. Nalayani took the beautiful young man to Siva. Siva was at that time engaged in a game of dice with Parvati and Indra did not then recognise Siva. Indra in his arrogance argued that the whole universe belonged to him. Siva jumped up enraged and ran after Indra who ran to the mouth of a cave. Siva caught him and said that he would show him four Indras inside that cave. Both of them entered the cave and to the amazement of Indra he saw four other Indras sitting inside the cave. They were all the creation of Siva and with the original Indra the number of Indras came to five.

Then addressing Nalayani who had followed them Siva said, ''Oh beautiful girl, do not be worried. All these five are your husbands. You will be born as the daughter of the King of Pancala. Then all these five will be born in the lunar race and will marry you." The Indras agreed to be born on earth and do the work of God.

After that they all went to Mahavisnu and requested him to give them mighty accomplices to fulfil their mission. Then Mahavisnu plucked two hairs from his body, one white and the other black, and dropped them on the ground. The black hair was born as Sri Krsna and the white hair was born as Balarama, to help the Pandavas later.

Pancali's two previous births can be explained thus :  Agnideva created Mayasita who in turn became Svargalaksmi to be born as Pancali. Mayasita was a part of Mahalaksmi and so also Nalayani who became Pancali was a part of Laksml. Pandavas are known to be the sons of five gods and they used for the procreation of the Pandavas Indrarhs a (part of Indra) thus making them all' Indras.

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MALAYAVATI

 

MALAYAVATI

Malayavati is the heoine of the play Naganandam written by the great Emperor and Playwright HarshaVardhana.  The hero is JeemoothaVaahana.

The part played by the heroine in this drama is comparatively very little.  Yet she makes a deep impression and leaves her stamp in the minds of the readers. Readers are introduced to her through her divine song accompanied by Veena which thrills not only the Hero and his friend but even the animals in the penance forest.  She is beautiful, young and shy qualifying for the title Mugdhaa Naayikaa.  Highly devoted to the Goddess Gauri, she propitiates her by prayers and songs and the Goddess tells her that she would be married by the king of Vidhyaadharas whom she loved – “Hrudhayeshta Eva Varah”.  Even at the first meeting of the Hero in the temple she falls in love with him.  Her exceptional beauty also leaves a strong impression in the Hero.  The lovers are made for each other, they meet, love and depart not knowing much about each other.

In her longing for her lover, she feels miserable and goes to the sandal plant bower with her maid to divert herself.  There she listens to the hero narrating something about his love affair and not knowing that he is only narrating a dream which is concerned with her only, she becomes desperate.  The rejection of Malayavati’s hand offered by Visvaavasu through Mithraavasu by the hero makes her frustration complete and she attempts to commit suicide and is saved by the Hero himself.  She is quite innocent and her misunderstandings are cleared.  They are happily married and Malayavati goes with her husband to live with her parents-in-law serving them.

Apart from her simplicity, innocence and personal charm, Malayavati is so good natured that everyone loves her.  As a true Hindu wife, she does not say a word against her husband even in her bitterest grief and prepares to follow him in death.  Her faith and devotion in Goddess Gauri is so firm that she only makes an appeal to Her in the hour of trial and the Goddess Gauri answers her call.  Malayavati has shown extraordinary restraint and courage in facing the most painful situation in the last Act.  Here she has proved to be a worthy wife of a Bodhisathva.

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LOPAAMUDRA

                                     

LOPAAMUDRA

          Lopaamudra was the daughter of the king of Vidharbha and  wife of the great sage Agastya.

          She is said to be have been formed by the sage Agastya himself from the most beautiful parts of different animals so as to have a wife after his own heart, and then secretly  introduced into the palace of the king of Vidharbha where she grew up as his daughter.  She was afterwards married by Agastya.

          He was asked by her to acquire immense riches before be thought of having any connection with her.  The sage accordingly first went to the king Sruthavarman, and from him to several other persons till he went to the rich demon Ilvala and, having conquered him, got immense wealth from him and satisfied his wife.

                                          

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KAADAMBARI

 

KAADAMBARI

          Kaadambari is the heroine of the story KAADAMBARI an excellent book of love story in prose written in Sanskrit by the great poet Baanabhatta who was a protégé of king HarshaVardhana of the 7^th century A.D.

          Kaadambari, the heroine is introduced rather too late in the story and it will not be entirely wrong if we say that the author Baanabhatta has not done full justice in her character, particularly when we compare her with her friend Mahaasvethaa.  Yet Kaadambari leaves a good impression in the reader’s mind as an embodiment of beauty and feminine virtues.

          Being the daughter of the Gandharva chief Chithraratha and the beautiful Apsaras Madhiraa, she inherited a physical charm that was really captivating.  Her name Kaadamnbari (another meaning Wine) is Anvartha (the word follows the meaning) as she would intoxicate anyone who drinks her beauty.

          Kaadambari’s love and regard for Maahasvethaa with whom she was brought up from the childhood, was sincere and deep.  When she heard that Mahaasvethaa had decided to remain in the forest and do penance on account of her disappointment in love, she also took a vow not to marry as long as her friend remained in that state.

          She asked Mahaasvethaa how she could enjoy married life when her friend was in that pitiable condition.  Mahaasvethaa knew that love is blind and powerful and rightly thought that a meaning with Chandraapeeda (the hero of the book Kaadambari) would bring about the desired change in her mind.

          Even at first sight, Kaadambari fell in love with Chandraapeeda and her passion was irresistible.  Even the thought of her parents and her vow could not divert her mind from Chandraapeeda.  She was sincere and firm in her love.

          When Chandraapeeda fell down dead, she decided to follow him.  When she was consoled by the Moon and was asked to preserve the body of Chandraapeeda, she did with it great devotion herself leading the life of an ascetic.  With a ‘strong will’ she controlled her feelings and offered her respects to Thaaraapeeda and Vilaasavathi (the parents of the hero Chandraapeeda) who came to the forest hearing the sad news of their son.

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JAAMBAVATI

 

JAAMBAVATI

Jaambavati was a daughter of famous Jaambavan.  According to the 4^th chapter of Devi Bhagavatam, Sri Krishna went in search of the famous precious stone Syamantaka which was lost when Prasena wore it and went to the forest for hunting.  Krishna found it in the cave of Jaambavan, who fought with him and was defeated.  Finally he gave his daughter Jaambavati to Sri Krishna as wife, and the jewel Syamantaka as dowry.

Sri Krishna came to his capital Dvaaraka with his wife Jaambavati.  When sons were born to the other wives of Krishna, she became sad and requested her husband that sons may be born to her also.  On hearing this request, Krishna went to the mountain where the hermit Upamanyu was engaged in penance.  With that hermit who was an ardent devotee of Siva, as his teacher, Krishna began a penance before Siva, in accordance with Upamanyu’s advice.

The penance, holding Yogadhanda and Kapaala (devotee’s staff and skull) lasted for a month.  In the second month penance was performed standing on one leg and drinking only water.  In the third month he did penance standing on toes only, and using air as food.  After six months Paramasiva appeared and blessed him that his wives would have ten sons each.  Accordingly Jaambavati gave birth to her first son who was named Saamba.

 

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IRAAVATI

 

IRAAVATI

Iraavati was a queen of the king Agnimitra (the hero)in the play Malavika-Agnimitram in Sanskrit written by the great poet Kalidasa.

Kalidasa’s skill in characterisation comes out best in the female characters of this play.  He presents two opposite types of womanly character, the magnanimous Dhaarini (the queen and the first wife of Agnimitra) and the jealous Iraavati (the queen and the second wife of Agnimitra) whose traits are gradually revealed with the progress of the plot.

          Iraavati presents a strange contrast to Dhaarini.  She is very particular about her personal charms and asks her servant-maid Nipunikaa whether she appears attractive in her drunkenness.  She is a matter-of-fact lady that is legitimately jealous of a rival participant in the king’s love.  The superior personality of Malavika (the heroine of this play) strikes her with terror and envy.

          Her jealousy leads her to constant eaves-dropping at many an interview between the king and his new love (Malavika).  An undignified coquette, she loses her temper at the infidelity of the king.  She bluntly interrupts the interview of the king and the heroine with her angry words “Pooraya, pooraya.  Ayamasokah kusumam na dharsayati.  Ayam punah pushyathi phalathi cha” means Fructify, fructify.  The tree Asoka does not put forth flowers.  But this one does put forth flowers and also bears fruit.

          Iraavati addresses sarcastic remarks to Malavika and threatens her accomplice Bakulaavalikaa.  She taunts her husband with the word “Sata” means rogue and beats him with her girdle and refuses to be reconciled even by his prostration, knowing as she did that his apologies were in-sincere. 

          Exasperated by the king’s courtship to his new love, she induces queen Dhaarini to put Malavika and her maid in prison.  At the second interview too, already enraged that she is at the mutter of Vidhushaka in dream for Malavika, Iraavati is further incensed at the release of Malavika, and though she suspects the queen Dhaarini’s partiality at the outset, accuses the Vidhushaka in strong terms when she comes to know that it was the trick of Vidhushaka.

          The queen Dhaarini’s tolerance leaves Iraavati no alternative except to submit to the inevitable, but it is the character of Iraavati round which the whole plot of the play Malavikagnimitram turns and but for her this paly would have lost much of its interest.

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HIDIMBAA

 

HIDIMBAA

Hidimbaa was a wife of Bhima and mother of Ghatotkacha.  On the burning of the “Lac Palace” the Pandavas escaped through a tunnel and reached a forest.  Bhima saw his brothers and mother feeling tired and sleepy. So, he carried them on his shoulder, ran very fast and kept them under banyan tree safe. When they were resting, he was guarding them vigilantly. At this juncture, a demoness named Hidimba was roaming in the forest with his brother demon Hidimban. Hidimban ordered her to bring those five for eating them. But on seeing the extra ordinary power and appearance of Bhima, she requested him to marry her.

Due to delay her brother came there and started fighting with Bhima in which the demon got killed by Bhima. The other Pandavas woke up on hearing the deafening sound of the demon. But Hidimba fell at their feet to permit her to marry mighty Bhima. As permitted she got married with him and delivered a strong boy immediately who was called Ghatotkacha. He also grew as young very fast and departed from there with his mother Hidimba to her abode.

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GHOSHAA

 

GHOSHAA

          Ghoshaa was a Tapasvini famed in Rugveda.  She was the grand-daughter of Drugata maharshi and daughter of the sage Kakshivaan both composed several hymns in praise of the Ashwins. Two entire hymns of the Tenth book, each containing 14 verses, are attributed to her. 

Ghosha was one of the 27 women known as brahmavadinis, though some of these ‘women’ seem to have been abstractions or fictions. Ghosha is one who appears to have been human, and the author of two hymns in the Rig Veda.  

As she contracted leprosy in her very childhood nobody came forward to marry her.  Ultimately she composed a mantra in praise of Asvinidevas.  They cured Ghoshaa of leprosy and she got married.

Her first hymn praises the Ashwins, the heavenly twins who are also physicians; this accords well with the legend that she suffered from some disfiguring disease, perhaps leprosy, and remained unmarried as a consequence in her father’s house.

The first, a more personal one, expresses Ghosha’s intimate feelings and desires. She implored the Ashwins,

This praise song have we made for you, O Ashwins,
Have fashioned it as the Bhrigus build a weapon
Have decked it as the bride is for the bridegroom,
Presenting it to you as our own offerings.

It is said that, invoked by her two hymns, the Ashwins worshipped by her forefathers cured her of the disease and made her worthy of wedded happiness.

The second hymn is explicit about her desires and deep feeling for married life:
The woman has been born:                                                                              let him, desirous of a maiden, approach her;
For him let the spreading creepers grow along with rain;
Let the stream flow for him as if down an incline;
For him who is not to be conquered, let there be the rights of a husband.

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FESHIKHA SIRINDHORN.

 

FESHIKHA SIRINDHORN

Feshikha means Princess.  Sirindhorn, a 60-year-old scholar of Sanskrit who was the Royal Patron of the World Sanskrit Conference held in Bangkok last year, will be travelling to India in this regard, secretary (East), ministry of external affairs, Anil Wadhwa said. “Princess Maha Chakri Sirindhorn will be travelling to India to receive the first world Sanskrit Award which has been conferred on her by the government of India,” said Wadhwa, who was accompanying Ansari during his visit to Thailand. 

The sixteenth conference in Bangkok, Thailand in 2015 received unprecedented support from the Indian government.  Over 600 Sanskrit scholars from 60 countries participated in the five-day conference last year which was inaugurated by external affairs minister Sushma Swaraj.

Before leaving for home, Ansari called on Princess Sirindhorn at the Sra Pathum Palace this morning and inspected the Chitralada Project inside it.

Hers will be among the several visits by top Thai leaders expected this year including Prime Minister General Prayut Chan-o-cha, Prince Maha Vajiralongkorn and Deputy Prime Minister and Defence Minister Prawit Wongsuwon.

Wadhwa also lauded Thailand for successfully hosting the 16th World Sanskrit Conference.

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