Chapter 6

Sermishtha was the daughter of Vrishaperva, king of the Daityas, and Devayani, the daughter of Sukra, regent of the planet Venus and the spiritual preceptor of the Daitya race. Devayani having incurred the displeasure of Sermishtha the latter threw the former into a well, where she was found by king Yayati, the son of Nahusha. Devayani, on returning to her father, excited his anger against Vrishaperva, who, to appease Sukra, consented to give his daughter to Devayani as her servant, with a thousand other female attendants. Devayani was married to Yayati. At the time of her marriage, Sukra obtained the king's promise that he would never associate with Sermishtha; but after some interval, the king meeting her, fell in love with, and espoused, her privately. The intrigue continued secret, until Yayati had two sons by Devayani and three by Sermishtha, when it was discovered by the former, and excited her resentment as well as that of her father. The violation of the king's promise was punished by premature decay, as denounced upon him by Sukra, with permission, however, to transfer his infirmities to anyone who would acccept them. Yayati appealed to his sons; of whom the youngest alone, Puru, consented to assume the burden. After a sufficient period, Yayati took his decrepitude back again, and left the sovereignty to Puru in reward of his filial piety.

All the sons of Yayati were the founders of distinguished families. The Pauravas were the descendants of Puru in whose line the Kaurava and the Pandava families were comprised.

KAUTUKA SERVASWA.

Kalivatsala, or the darling of the age of iniquity, is the sovereign of Dhermanasa or the destruction of virtue, and he takes as his spiritual guide, Kukermapanchanana, the Siva of iniquity.

Satyacharya, a pious Brahman returned from Brindavan, who is treated by the king and his courtiers with great iniquity, holds the following conversation with his brethren in jail.

Satyacharya says: "How now, holy sirs, how fares it with you?"

The Brahmans in jail reply: "We once had lands in free gifts."

Satyacharya asks, "What then?"

The Brahmans answer: "why, know you not the customs of the country? If the god of wealth owned lands here that yielded but a grain of corn, the king would send him in three days to beg alms, clad in tatters and with a platter in his hand. The characteristics of our sovereign are fondness for the intoxicating juice of _bhang_, esteem for the wicked, addiction to vice, and detestation of virtue."

Satyacharya observes: "You are right, what chance is there for the good? The king is unwise, his associates are wicked, his chief councillor is a knave, and his minister, a scoundrel. Yet the people are many; why is not such misconduct resented?"

The Brahmans reply, "The manners of the people are equally depraved; they are valiant in oppression, skilful in falsehood, and persevering only in contempt for the pious."

Satyacharya asks, "How are the scribes?"

The Brahmans answer, "They collect the revenues by any expedient, and vigilantly inflict penalties on the wise. The Brahmans are not allowed to keep even the dust upon their bodies; the dust accumulated on their feet is claimed by the Kayeths. What can we say of this reign? The dumb alone can speak the truth, the deaf hear the law, the sons of the barren are well-behaved, the blind behold the observance of the scriptures. Our lands have been given to drunkards, and we are detained in prison for what our ancestors expended."

Satyacharya observes, "I have heard enough. Better fortunes attend you."

The general Samara Jambuka, the jackal of war, boasts that he can cleave a roll of butter with his falchion. He trembles from top to toe at the approach of a mosquito.

The king orders vice to be proclaimed virtue by beat of drum. All the Brahmans are perpetually banished.

PRACHANDA PANDAVA

OR

THE OFFENDED SONS OF PANDU

OR

BALA BHARATA.

Draupadi is married to the five sons of Pandu, in compliance with the command of their mother. Yudhishthira, the eldest son of Pandu, loses every thing including Draupadi at chess-play with Duryodhana, the eldest of the Kauravas. Draupadi is now dragged by the hair, almost naked, into the public assembly, an insult in revenge for which ferocious Bhima vows to slay Duhsasana, the insulter, and drink his blood, and ultimately fulfils his vow. The Pandava princes then depart to the forest.

PROBODHA CHANDRODAYA

OR

"RISE OF THE MOON OF (TRUE) KNOWLEDGE."

Religion and the noble king Reason, accompanied by all the Virtues namely Faith, Volition, Opinion, Imagination, Contemplation, Devotion, Quietude, Friendship and others, are banished, from Benares, by the evil king Error who reigns at Benares, surrounded by his faithful adherents, the Follies and Vices namely Self-conceit, Hypocrisy, Love, Passion, Anger, Avarice and others. There is, however, a prophecy that Reason will some day be re-united with Revelation; the fruit of the union will be True Knowledge, that will destroy the reign of Error.

The struggle for this union and its consummation are followed by the final triumph of the good party.

NAGANANDA

OR

JOY OF THE SERPENTS.

Jimutavahana, a prince of the Vidyadharas, is a Buddhist. He marries Malayavati, daughter of the king of the Siddhas, a votary of the goddess Gauri, the wife of the great god Siva. When he comes to know that Garuda, the bird celebrated in mythology, is used to eat up one snake each day, he makes up his mind to offer himself to the bird as a victim, and eventually succeeds in converting Garuda to the principle of _Ahimsa_ or abstention from slaughter; but he himself is on the point of succumbing to the wounds he has received, when, through the timely intervention of the goddess Gouri, he recovers.

DUTANGADA

OR

THE MISSION OF ANGADA.

Angada, the son of Bali, is sent by Rama to Ravana to demand Sita. He executes his mission in a most clever and courageous manner. He then departs from Lanka. Ravana now goes forth to battle and is slain by Rama. The divine hero then enters the city of Lanka in triumph.

PRADYUMNA VIJAYA.

A pair of geese, the _Hansa_ and _Hansi_ inspire Prabhavati, the daughter of Vajranabha, and Pradyumna, the son of Krishna with a mutual passion before they have beheld each other. By their contrivance, secret nuptials are brought about.

The sage Nareda communicates the stolen interviews of the lovers to the father of the damsel, to whose vengeance Pradyumna is about to fall a victim, when Krishna and Baladeva with their followers come to the rescue. A combat ensues in which Vajranabha is defeated and slain. The engagement is seen by two Gandherbas from their chariots in the air.

VIDAGDHA MADHAVA.

The loves of Krishna and Radha are intense. The two lovers often engage in jealous squabbles.

Chandravali, a nymph of Vrindavan, is enamoured of Krishna and thus excites the jealousy of Radha.

The Paurnamasi, the personified day of the full moon, interests herself in the union of Krishna and Radha.

DHANANYAYA VIJAYA.

The cattle of king Virat are carried off by Karna and the Kuru princes. Aryuna recovers them after a great battle. The different chiefs appear, threaten one another and praise themselves.

Indra and some of his attendants contemplate the fight from the clouds.

HASYARNAVA.

The king Anasayindhu, in his progress through his city, regrets to find everything subverted: that Chandals, not Brahmans, make shoes; that wives are chaste and husbands constant; and that respect is paid to the respectable, not to the vile; and that Vyadhisindhu, the doctor, cures the cholic by applying a heated needle to the palate, and perforates the pupils of the eyes in order to restore vision.

Sadhhinsaka, the chief of police, reports with great satisfaction that the city is completely in the hands of thieves; the Commander-in-chief Ranajambuka, after putting on his armour, valiantly cuts a leech in two. Mahayatrika, the astrologer, in answer to a question of the time to take a journey, indicates hours and positions which proclaim approaching death.

A dispute ensues between Viswabhanda, a Saiva mendicant, and Kalahankura, his disciple, which they refer to the decision of Mahanindaka, another Brahman, who asserts that he composed the _vedas_ and visited _Swerga_, where he treated Vrihaspati and Brahma with contempt and gave Siva a drubbing.

CHITRA YAJNA.

Daksha, the father of Sati or Bhavani and father-in-law of the great god Siva, institutes a great sacrifice.

The gods and sages assemble on the occasion, Daksha accords them a cordial reception. He bows down to the feet of the gods, and puts the dust from under them upon his head. He then proceeds to the place of sacrifice, reading or reciting the usual formulæ. He orders the attendants to distribute rice to the Brahmans, for the purpose of invoking their benedictions. They receive the rice, scatter it and pronounce the _Swasti Vachana_, or benedictory text. He offers oblation to fire.

Dadhichi now comes to the sacrifice, when a dispute ensues between him and the sacrificer, upon the impropriety of omitting to invite Siva; and the dispute becoming rather hot, Daksha orders his guest to be turned out. The gods partake of Dadhichi's indignation at the disrespectful mention of Siva, and rise to depart. Daksha orders his servants to guard the door and prevent their going forth: the gods, however, force their way.

The sages then also withdraw, on which Daksha goes out, exclaiming, "I will give double presents to those who remain." Nareda goes to Kailas with the news. He enters playing the _Vina_ and singing hymns in honour of the great god. Nareda's communication to Siva and Bhavani is very brief.

Siva asks, "Now, Nareda, whence come you?" Nareda replies, "Your godship is omniscient, you know all that has happened, but have asked me through a wish to hear it from my lips. We were all invited to Daksha's sacrifice. Dadhichi, finding that you were not invited, took Daksha to task pretty sharply, and walked off, upon which I come to pay you my respects." Having said this and prostrated himself on the ground, the sage, with his lute hanging upon his neck, departed.

Sati now asks leave to go and see her father.

Siva replies, "It is quite contrary to etiquette, to go without an invitation." She answers, "I need not stand on ceremony with my father."

Siva observes, "How! would you impose upon me with falsehoods? Daksha is not your father, nor is his wife your mother, you are the father of all things, the mother of the universe. Those versed in the _Vedas_ declare you male and female too."

In the end, she is allowed to follow her own inclinations.

She comes to her father, and vainly endeavours to impress him with respect for her husband. She quits him to throw herself into the sacrificial fire.

Nareda then appears and tells Daksha to prepare for the consequences of his folly. Virabhadra, Siva's attendant, then enters and plays some antics. Shaking the earth with his tread, and filling space with his extended arms, he rolls his eyes in wrath. Some of the gods he casts on the ground and tramples on them; he knocks out the teeth of some with his fists, plucks out the beards of some, and cuts off the ears, arms, and noses of others; he smites some, and he tosses others into the sacrificial fire. He decapitates the cause of his master's indignation, the haughty Daksha.

MRIGANKALEKHA.

Mrigankalekha is the daughter of the king of Kamarupa or Assam: she is beheld by Karpuratilaka, the king of Kalinga, whilst hunting, and the parties are mutually enamoured.

The obstacle to their union is the love of Sankhapala, a demon, to oppose whose supernatural powers, Ratnachura, the minister of the king of Kalinga, who alone is aware of the circumstance, invites to the palace a benevolent magician, Siddhayogini, and Mrigankalekha is also lodged in the palace as the friend of the queen Vilasavati.

Notwithstanding these precautions, she is carried off by Sankhapala to the temple of Kali, which is surrounded by goblins. During the Raja's peregrinations in his love-frenzy, he passes disconsolate through a wood in which he inquires of different animals if they have seen his mistress.

He now comes to the temple, rescues her, and kills Sankhapala. He is then united to Mrigankalekha in the presence of her father and brother, and with the consent of the queen. Before the conclusion of the marriage rite, he kills also the brother of Sankhapala, who comes to revenge him in the form of a wild elephant.

The marriage is thus effected through the secret contrivance of the minister, because the lady's husband is to become the master of the world.

MUDRARAKSHASA

OR

RAKSHASA (THE MINISTER) WITH THE SIGNET

OR

RAKSHASA AND THE SIGNET-RING

OR

RAKSHASA KNOWN BY THE SIGNET-RING.

The city of Pataliputra or Palibothra, the capital of the Nandas, was situated not far from the confluence of the Ganges and the Sone; and was on the southern side of the rivers. Nanda, the last king of the Nanda line, had for his minister the able and experienced Rakshasa. Chandragupta also called Vrishala and Maurya is identical with Sandrakottus represented by the Greek writers as the most powerful Raja in India at the time of Alexander the Great's death. He was a sovereign of dignity and strength of character and had a high respect for his minister Chanakya, the Indian Macchiavelli, who was a crafty, clearheaded, self-confident, intriguing and hard politician, with the ultimate end of his ambition thoroughly well-determined and directing all his clearheadedness and intrigue to the accomplishment of that end. This minister, also called Vishnugupta, is famous as a writer on _Nity_ or "rules of government and polity", and the reputed author of numerous moral and political precepts commonly current in India. Nanda is slain by the contrivances of this wily Brahman, who thus assists Chandragupta to the throne, and becomes his minister. Rakshasa refuses to recognise the usurper and endeavours to be avenged on him for the ruin of his late master.

After the assassination of Nanda, Servarthasiddhi is placed on the throne by Rakshasa but he retires to a life of devotion. Saileswara or Parvataka or Parvateswara, the king of the Mountains, at first the ally of Chandragupta, afterwards befriended his opponents and is therefore slain privily by Chanakya. Vairodhaka, the brother of Parvataka, is killed by Rakshasa's emissaries by mistake for Chandragupta.

Malayaketu, the son of Parvataka, is a prince whose confidence and distrust are alike misplaced, who is thoughtless, suspicious, wanting in dignity, and almost child-like, not to say childish. He leads an army against Chandragupta but without success. He is so rash and inconsiderate as to resolve most hastily to undertake war against five kings at a time.

Rakshasa is a brave soldier but a blundering and somewhat soft-natured politician, whose faithfulnesss to his original master Nanda prompts him to wreak vengeance on Chandragupta and Chanakya. He has ultimately to abandon in despair his self-imposed task, the great aim of his life, being foiled by the arts of his adversary Chanakya. The proximate motive of the abandonment, however, is the duty of repaying favours received by him when he was engaged in his attempts at vengeance. He accidentally acquires a ring.

Chanakya, whose ability and diplomatic skill are of a high order, lays out various plottings and machinations to make Chandragupta the paramount sovereign in India, by winning over the noble Rakshasa to his master's cause. He tries successfully to effect a reconciliation between his protegé, and Rakshasa. With this view Rakshasa is rendered by the contrivances of Chanakya an object of suspicion to the prince Malyaketu with whom he has taken refuge and is consequently dismissed by him.

In this deserted condition he learns the imminent danger of a dear friend Chandandasa whom Chanakya is about to put to death, and in order to effect his liberation surrenders himself to his enemies.

They offer him, contrary to his expectations, the rank and power of Prime Minister, and the parties are finally friends.

The Nanda dynasty thus comes to an end and Chandragupta becomes the founder of the Maurya dynasty.

A curious scene in the last Act may be noticed here. A Chandala or executioner leads a criminal to the place of execution. The latter bears a stake (_Sula_) on his shoulder, and is followed by his wife and son who use no expressions suggestive of tenderness but only of sacrifice--a stern sense of duty. At the impending execution of her husband, she neither faints nor becomes disconsolate but simply weeps and talks of her duty.

The executioner calls out--"Make way, make way, good people! let every one who wishes to preserve his life, his property, or his family, avoid transgressing against the king as he would, poison." This criminal is Chandan Das who is put into chains with a view to force his friend Rakshsa to yield. He gives up his life and property for the sake of his friend Rakshasa. This conduct is described as casting into the shade the noble acts of even the Buddhas.

VIDDHA SALABHANJIKA

OR

THE CARVED STATUE.

Vidyadhar Malla, the chief of the Karachuli race, a Rajput tribe, was the king of Triling and Kalinga. Bhagurayana was his minister. Charayana was his Vidushaka or confidential attendant. Chandraverma, the king of Lata, was the maternal uncle-in-law of Vidyadhar Malla. He had no son. To satisfy his desire for a son, he dressed his only daughter Mrigankavali as a son to pass her off as such. People knew that the child was a son.

Bhagurayana had heard from the sages that "whosoever shall wed the daughter of Chandravarma shall become the paramount sovereign." So he told Chandravarma, "My king desires to see your son." Upon this Chandravarma sent his child to the queen of Vidyadhara Malla to be taken care of by her. Thus the minister contrived to bring Mrigankavali to the palace of his king.

One day, while the king is asleep, Mrigankavali puts a necklace on the neck of the king, being induced by a maid-servant who had instructions to do so by the minister. The king takes this as a wonderful dream. The vision of a beautiful maid agitates his mind. The king thus relates to Bidushaka the story of his fancied vision, "for the burden of the heart is lightened by sharing it with a faithful friend."

"A glorious halo appeared before me in my dream, bright as the moon's resplendent disk; within the orb a beauteous maiden moved as gently radiant as the lunar rays in autumn skies.

Advancing near me, she inclined her head in reverence, and, as if pouring ambrosia into my ears, pronounced in softest tones,

'Glory to the deity of love!' Then sighing, she took up this string of costly pearls and placed it on my neck. This awoke me, I started up and saw my vision realised. I caught the nymph by her scarf, but she hastily extricated herself from my hands and fled, leaving me this necklace alone the evidence of her presence." Bidushaka asks his Majesty, "Was not the queen with you when you dreamt? What did she do?"

The king replies, "The queen got angry and left me." Bidushaka remarks, "Why could not you assuage her anger?"

The king answers, "I was absorbed in the maid of my vision."

The Vidushaka, however, treats the whole as a dream, and reproaches the king for his fickleness, as he had just before fallen in love with Kuvalayamala, the princess of Kuntala, and recommends him to be content with the queen, as "a partridge in the hand is better than a pea-hen in the forest."

The prince and the Vidushaka then go into the garden by the back-door, where, over the edge of a terrace, they see some of the fair tenants of the inner apartments amusing themselves with swinging. Amongst them the king recognises the countenance he has seen in his dream, but the party disappear on the advance of the king and his friend.

The king then enters a pleasure-house or pavilion called the _kelikailas_ or mountain of sport built for him by the minister.

It is a beautiful palace built of crystal, and decorated with statues and paintings. One of the paintings is thus described:

"There is your Majesty at _pasa_ (dice) with the queen: behind you stands one damsel with the betel box, whilst another is waving the _chownri_ over your head: the dwarf is playing with the monkey, and the parrot abusing the Vidushaka." The chamber also contains the portrait of Mrigankavali, the damsel whom the prince has really seen in his supposed dream. There is also a statue of her, whence the drama is named _Viddha Salabhanjika_, meaning a curved statue or effigy.

The king discovers the statue. He thinks, "Who will carve on the wall the person I dreamed of? No one was present when I dreamt. Has anyone carved the statue out of his fancy? A real person may exist in this world or how can an exact figure come here?"

He now verily believes the dream to be a reality. He then puts the necklace of his dream on the neck of the carved statue.

Finally the lady is herself beheld through the transparent wall of the pavilion, but runs away on being observed. The king becomes enamoured of her. He and his friend follow her but in vain. The bards proclaim it at noon, and the two friends repair to the queen's apartments to perform the midday ceremonies.

Kuvalayamala, the object of the king's passion before encountering his new flame, is the daughter of Chandramahasena, the king of Kuntala. She has been sent to Vidyadhara Malla's queen, as the betrothed bride of the supposed son of Chandraverma, who is the queen's maternal uncle. Mekhala, the queen's foster-sister, practises a frolic on Charayana. He is promised a new bride by the queen, and the ceremony is about to take place when the spouse proves to be a "lubberly boy"; he is highly indignant at the trick, and goes off threatening vengeance.

The king having followed and pacified his companion, they go off into the garden, where they see the damsel Mrigankavali playing with ball: she still however flies their advance. Presently they overhear a conversation between her and one of her companions, from which it appears, that notwithstanding her shyness she is equally enamoured of the king.

Her dress is the contrivance of the minister, at whose instigation, Mrigankavali is persuaded by Sulakshana to believe that she is to behold the present deity of love, and is introduced by a sliding door into the king's chamber. The consequence of the interview is to render Mrigankavali passionately enamoured of the king.

One day, the queen, in order to deceive Charayana, manages to celebrate a marriage between him and a son of a maid-servant veiled as a female. The trick is discovered. He is highly indignant.

He now retaliates with the help of the king. He induces Sulakshana, one of the female attendants of the queen, to ascend a _Bakula_ tree and thence send a message in a nasal tone, as if from the sky, to Mekhala, the foster-sister and chief attendant of the queen.

"Thou shalt die at this spot on the full moon day of _Baisakh_." After many entreaties, the heavenly voice prescribes a relief, "Thou art safe if thou canst pass through the legs of a Brahmin skilled in music and gratified with a fee." Charayana, just the kind of Brahmin required, arrives at this juncture. The king and the queen are present. Mekhala and the queen, both overcome with concern, entreat Charayana to be the Brahmin that shall preserve the life of the former. He consents. As Mekhala tries to pass between his legs, he mounts on her back and says, "you are now caught in your turn. You deceived me once. Now marry me." He triumphs in the humiliation he has inflicted on her. The queen now perceives the intrigue of the king, is in her turn incensed, goes off in a pet and resolves to take revenge.