Hinduism and women

"You aim at a result and your efforts subserve one that is different or contrary. It is Shakti that has gone forth and entered into the people."

"India of the ages is not dead nor has She spoken Her last creative word; she lives and has still something to do for herself and the human peoples. And that which She must seek now to awake, is not an Anglicized oriental people, docile people of the West and doomed to repeat the cycle of Occident’s success and failure, but still the ancient immemorial Shakti recovering Her deepest self, lifting Her head higher towards the supreme source of light and strength and turning to discover the complete meaning and Vaster form of Her Dharma."

"The first and ultimate principle of the Universe is a feminine power, Shakti, whose personified form is Beauty and whose essential nature is consciousness and bliss. It exists eternally associated with the male principle, Shiva, who plays a secondary role. The “Srichakra” is the diagrammatic representation of their union."

"There is a word 'Shakti' in Hinduism. We are fighting against a Shakti."

"I am a pujari of Bharat Maa. I am a pujari of ‘Shakti Swaroopa’ mothers, sisters and daughters... Can somebody on the soil of India speak of finishing ‘Shakti’? Will you accept this? Don’t we do ‘aradhana’ of ‘Shakti’."

"Although conceived as female in nature, Shakti is not an individual goddess, but rather a dynamic quality that all goddesses (and even all women, at least within the Shakta Tatric tradition) are said to possess. Unbridled, uncontainable."

"The Guru [Nagaji, Ramakrishna’s] would, never condescend to admit of Maya or Shakti. Brahman only exists – this was his refrain. Ramakrishna on the other hand, had begun his spiritual ascent by his devotion to Shakti standing in the form of the idol of Kali in the temple. To him Shakti was equally real and equally important. Without any argument, or any effort on his part, his guru was caught in the vice like grip of Shakti or Maya."

"There is a deeper symbolism. The black image of Kali is standing on the white image of Lord Shiva. Shiva is Brahman and Kali is Brahman’s energy, Shakti. Brahman is passive while Shakti – Kali –is active. The images so stand that Shiva looks at Kali and Kali at Shiva. This symbolizes the fact that every action, big or small, of destruction or creation, performed by Kali at the instance of Shiva. Kali, as it were, is the working organ of Shiva. Shiva and Kali, Brahman and Shakti, the source and energy, are essential one."

"Why is it that our country is the weakest and the most backward of all countries? Because Shakti is held in dishonour. Without the grace of Shakti nothing is to be accomplished... To me, Mother's grace is a hundred times more valuable than Father's... fie on him who has no devotion for the Mother....If an Indian woman in Indian dress preaches the religion which fell from the lips of the Rishis of India, it will inundate the Western world. Will there be no women in the land of Maitreyi, Khana, Lilavati, Savitri and Ubhayabharati?"

"Mantra is like atomic power, the more you explore the Shakti, the power, the atomic energy, in the atom, you will the Shakti is even subtler than the atom itself."

"So from where does our lineage of tradition flow? The first is Brahmadeva, the lotus-born one. Then came Vasishta, Lord Rama’s Guru. This indicates that tradition is older than the Ramayana. After Vasishta comes Shakti, then Parasara, followed by Vyasa, author of the epic Mahabharata, and then Shuka."

"All the objects in the external world are definitely projections of shakti, the power of consciousness, but the waking state is not a product of your mind."

"The word shava, means corpse. What is this word? Why is it called shava? It is missing something, it is missing shakti. Shiva without shakti, become shava."

"There is a triangular cavity at the base of the spinal column where sleeps kundalini shakti, called power of powers, coiled some say 2 ½ feet but definitely 3 ½ times."

"The followers of Advaita Vedanta maintain that creation, preservation, and dissolution, the individual ego, the external world, all these are manifestations of the Eternal Energy (Shakti). They also say that when these are properly analyzed, they appear as dreams, that the Absolute Brahman alone is the Reality, and all else is unreal. Even Eternal Energy (Shakti) is like a dream, unreal, but you may analyze and discriminate thousands of times, you cannot transcend the realm of Divine Energy (Shakti) unless you have reached the highest state of Samadhi or Superconsciousness."

"The very thoughts like: ‘I am meditating,’ ‘I am thinking on the Absolute,’ are within the realm of Shakti. They are the manifested powers of that Eternal Energy. Therefore the Absolute Brahman and the Eternal Energy are in separable and one. The existence of one implies that of the other, as the fire and its burning power. If you accept the existence of fire, how can you deny its burning power? No one can think of fire without thinking of its burning power. In the same manner, we cannot think of the rays of the sun, without thinking of sun himself. Again, we cannot think of sun without thinking of his rays. Therefore, no one think of Brahman as apart from Shakti, or Shakti as separate from Brahman. Likewise, no one conceive of the phenomenal as independent of the Absolute, or of the Absolute as apart from the phenomenal. The same Eternal Energy, the Mother of all phenomena, is creating, preserving, and destroying everything. She is called Kali, the Divine Mother. Kali as Brahman, Brahman as Kali, one and the same Being. I call him Brahman when He is absolutely inactive; that is when He neither creates, nor preserves, nor destroys phenomena; but when He performs all such actions, I call him Kali, the Eternal Energy, the Divine Mother. They are one and the same Being, the difference is in the name and form, just as the same substance water is called by different names in different languages such as jal, water, pani, etc. A tank may have four ghats. The Hindus drink at one ghat and call it jal; the Mohammedans at another and call it pani; while the English who drink at the third call it water. Similarly, God is one, only His names are different. Some call Him by the name of Allah, some God, some Brahman, other Kali, others again Rama, Hari, Jesus, Buddha."

"Shakti is the supreme, unchanging and spiritual truth that is beyond time and space. Shakti is the essence of chaitanya, or its true self; she neither male, nor female, but is a male-female entity, i.e. pure intelligence. Shakti is otherwise called vimarsha which is the eternal spirit of chaitanya. Shakti is self-existent and all manifest in the form of creation and dissolution. Like the para-Brahman of the Vedanta, this shakti is also pure intelligence. From the [[tantric point of view Shakti and Shiva are but one and the same, thus essentially differing from the Maya of the Vedanta. Shaktism expounds that the manifestation of the non-ego appears as external to shuddatma or pure ego and that chit-shakti is beyond the nescience."

"The concept of shakti is indivisibly connected with Mother worship (shakti sadhana). Generally the worship of Durga, Kali, Sarasvati and other goddesses is considered Shakti worship. But the worship of Narayana, Shiva, Ganesha and other gods, too, is the worship of Shakti Herself. Whatever the means - image, symbol or yantra - the worship is only of Shakti. This is because, in the use of all these means there is a superimposition of the creation - preservation - destruction aspects of Shakti either fully or partially. So in a wider sense all worshippers are Shakti worshippers."

"Shakti worship, especially the worship of God as Mother, is a personal property of India. The great scholar and illumined soul Swami Abhedananda also says, ‘India is in fact the only place in the world where God is worshipped as Mother’."

"Shakti: the Mother Goddess, power or energy, originating, perhaps, in the non-Aryan culture of the Indus Valley. Mythologically Shakti is equated with the Goddesses Kali, Parvati and Durga, consorts of Shiva. The cult of Shakti flourished since the fifth century A.D."

"The Dharma of the Westerners is worship of Shakti – the Creative Power regarded as the Female Principle."

"There is no word of a wider content in any language than this Sanskrit term [Shakti], meaning “Power”."

"...Brahman and Shakti are identical. If you accept the one, you must accept the other. It is like fire and its power to burn. If you see the fire, you must recognize its power to burn also. You cannot think of fire without its power to burn, nor can you think of the power to burn without fire. You cannot conceive of the sun’s rays without the sun, nor can you conceive of the sun without its rays.... You cannot think of the milk without the whiteness, and again, you cannot think of the whiteness without the milk. Thus one cannot think of Brahman without Shakti, or of Shakti without Brahman. One cannot think of the Absolute without the Relative, or of the Relative without the Absolute. The Primordial Power is ever at play. She is creating, preserving and destroying in play, as it were. This Power is called Kàli. Kàli is verily Brahman, and Brahman is verily Kàli. It is one and the same Reality. When we think of it as inactive, that is to say, not engaged in the acts of creation, preservation, and destruction, then we call It Brahman. But when It engages in these activities, then we call It Kàli or Shakti. The Reality is one and the same; the difference is in name and form."

"Sri Ramakrishna experienced Shakti, the presence of the Divine Mother in everything. And lo! The whole scene, doors, windows, the temple itself vanished. It seemed as if nothing existed anymore. Instead I saw an ocean of the Spirit, boundless, dazzling. In whatever direction I turned, great luminous waves were rising. They bore down upon me with a loud roar as if to swallow me up. In an instant they were upon me. They broke over me, they engulfed me. I was suffocated. I lost consciousness and I fell... How I passed that day and the next I know not. Round me rolled an ocean of ineffable joy. And in the depths of my being I was conscious of the presence of the Divine Mother."

"The Shakti or Power of Brahman is the manifest aspect of the unmanifest Brahman, the personal aspect of Impersonal Brahman. Brahman and Shakti are inseparable: they are static and dynamic, like energy bottled up and energy released. The one cannot be conceived of without the other: Brahman is inconceivable without Shakti, Shakti is inconceivable without Brahman. It follows that Brahman is a cosmic and cosmic as well as transcendental and relative. These seemingly opposing aspects — unmanifest and manifest, static and dynamic, acosmic and cosmic, transcendental and relative—are identical. In each case the same Being is seen from different viewpoints which balance and supplement each other. Both concepts, Brahman and Shakti, are indispensable to the health and fullness of spiritual life."

"There was the other idea in the old Vedic hymn to the Goddess: ‘I am the light. I am the light of the sun and moon; I am the air which animates all beings.’ This is the germ which afterwards develops into Mother-worship. By Mother-worship is not meant difference between father and mother. The first idea connoted by it is that of energy—I am the power that is in all beings."

"In an old Veda is found the mantra, ‘I am the empress of all that lives, the power in everything. ’Mother-worship is a distinct philosophy in itself. Power is the first of our ideas. It impinges upon man at every step; power felt within is the soul; without, nature. And the battle between the two makes human life. All that we know or feel is but the resultant of these two forces. Man saw that the sun shines on the good and evil alike."

"Mother is the first manifestation of power and is considered a higher idea than father. With the name of Mother comes the idea of Shakti, Divine Energy and Omnipotence, just as the baby believes its mother to be all powerful, able to do anything. The Divine Mother is the Kundalini (“coiled up power”) sleeping in us; without worshipping Her we can never know ourselves....Every manifestation of power in the universe is ‘Mother’. She is life, She is intelligence, She is love....A bit of Mother, a drop, was Krishna, another was Buddha, another was Christ....Worship Her if you want love and wisdom."

"This world is all alike the play of Mother. But we forget this. Even misery can be enjoyed when there is no selfishness, when we have become the witness of our own lives. The thinker of this philosophy has been struck by the idea that one power is behind all phenomena. In our thought of God, there is human limitation, personality: with Shakti comes the idea of One Universal Power. ‘I stretch the bow of Rudra when He desires to kill’ [‘to destroy evil,’ Rigveda, X. 125, Devi-Sukta], says Shakti. The Upanishads did not develop this thought; for Vedanta does not care for the God-idea. But in the Gita comes the significant saying to Arjuna, ‘I am the real, and I am the unreal. I bring good, and I bring evil.’ (Gità, IX: 19, X: 4-)"

"The well-known Sanskrit hymn that defines the Panchakanyas (five iconic heroines of Hindu epics) runs:"

"Sanskrit transliteration IAST: ahalyā draupadī sītā tārā mandodarī tathā । pañcakanyāḥ smarennityaṃ mahāpātakanāśinī॥"

"English translation: Ahalya, Draupadi, Sita, Tara and Mandodari One should forever remember the Panchakanya who are the destroyers of great sins."

"Maharishi Vishvamitra narrated to them the story of Ahalya and Indra. The amorous Indra deceived Ahalya and raped her. When Muni Gautam came to know of this he cursed Indra to become hundred eyed and cursed Ahalya to survive on air and and lie in ashes for thosuands of years. O, Rama! This is the forlorn ashram of that accursed Ahalya. Now that you have arrived here, I request to bless Ahalya and release her from her curse. On entering the ashram Rama came across Ahalya engaged in deep meditation. Ahalya was invisible to both humans and devas. Rama was the only person who could see her in all the three worlds."

"On seeing Rama, Ahalya's curse ended. Now she became visible to everybody. Recalling Maharshi Gautam's words, Ahalya received the princes with great affection. Ram accepted her hospitality wholeheartedly. With her powers of meditation Ahalya regained her true appearance. She was reunited with Maharishi Gautam with the intervention of Rama."

"Valmiki has not a word to say about the mother-son relationship between Ahalya and Shatananda. Ahalya’s son abandons her and lives comfortably in Janaka’s court, expressing relief that she is finally acceptable in society following Rama’s visit."

"Along his journey Rama freed Ahalya from her curse. The grace of God is so strong it can free us from the most difficult situations. Through it our inner wisdom, symbolized by the sage's wife, can be released from the stone of ignorance and materialism in which it is trapped. But for this to occur, we must open ourselves to the Divine Will. Otherwise obstacles will arise that we cannot possibly overcome by our power."

"Born in a family of culture and having married a sage of distinction, her [Ahalya] mind faltered for a moment and she committed a grave sin and incurred a curse. Why should she commit this mistake? There lie the lessons for others."

"However, on expressing her regret over the fault, the curse was lifted when the dust particles from the feet of Rama fell on her."

"Expressions of such a sincere regret enabled Ahalya to get back her form when God came in person to the place where she was spending her days "unseen". Our sins and taints in our souls will be wiped out by our appealing to the mercy of the Lord who will pardon our misdeeds. What Ahalya did was unpardonable and Sage Gautama, naturally enraged at her misconduct, condemned her. On her repentance, the sage said by offering hospitality to Rama, she would be freed from covetousness and delusion. He punished the celestial king [Indra] too, who was equally responsible for having misled her. It was to the sage's hermitage Rama paid a visit and made Ahalya regain her original form."

"Ahalya in Ramayana became a victim of Indra’s lust and had to face the wrath of her husband sage Gowthama, who cursed her to turn into a stone."

"There is a price attached to every transgression and this is applicable to not only mortals but also to the celestials or the realised souls. The Ahalya episode exemplifies the extent of damage that desire (on Indra's part) and ego/pride (of Ahalya) wrought upon them."

"Sage Vishwamitra goes back in time to relate the painful incident in Ahalya's life to Lord Rama and Lakshmana when, on their way to Mithila, they reached a beautiful hermitage that permeated with an air of sanctity but was uninhabited. This hermitage had belonged to sage Gautama who had lived there with his wife Ahalya."

"Ahalya was created by Brahma as a woman of flawless beauty and though many wished to win her hand, Gautama, one of the revered Seven Sages was chosen to be her husband. Among the many disappointed admirers of Ahalya was Indra, whose longing for her almost became an obsession. He hence waited for an opportune moment to ravish her."

"While Ahalya and Gautama remained devoted to each other, Indra was unable to contain his desire for her. One night, he simulated the approach of dawn by imitating the cock's crow to lure Gautama to the Ganga for his morning ablutions. He then took Ahalya in the guise of Gautama. Ahalya was initially surprised at the quick return of her husband but was sharp enough to recognise Indra's disguise. Yet she acquiesced in to his desire. In fact, being conscious of her beauty, she was proud to have been desired by Indra himself."

"An enraged Gautama, who divined this unacceptable deed, cursed both Indra and Ahalya. Indra lost his manliness while Ahalya was cursed to remain invisible in the hermitage along with the dust without food for thousands of years until such time when the curse would be lifted with Rama's arrival there. She would then honour Lord Rama as a guest and then regain her pristine purity and be reunited with Sage Gautama."

"There is an ancient exhortation in naming five maidens as pratah-smaraniya, urging that they be invoked daily at dawn:"

"Sanskrit transliteration IAST: Ahalya Draupadi Kunti Tara Mandodari tatha Panchakanya smaranityam mahapataka nashaka"

"English translation: Ahalya, Draupadi, Kunti, Tara and Mandodari: constantly remembering these virgins five destroys great failings."

"...the unusual combination of names that redeem, of whom at least two – Ahalya andDraupadi – are ayonijasambhava meaning "not-of-woman-born"."

"Of this group three – Ahalya, Tara, and Mandodari – belong to the Ramayana, the epic composed by Valmiki."

"It is the nobility of her character, her extraordinary beauty and the fact of her being chronologically the first kanya that places Ahalya at the head of the five virgin maidens. She had been true to her independent nature, fulfilling her womanhood in a manner that she found appropriate, though, finally, she is unable to assert herself."

"The name Ahalya itself has a double meaning: one who is flawless; it also means un-ploughed, that is, one who is a virgin. Her origin-myth states that, having created this flawless beauty from what was unique and loveliest in all creatures, Brahma handed her over to the sage Gautama for safe custody until she reached puberty."

"When Gautama handed her back to the Creator, he was so pleased with the sage’s self-restraint that he bestowed Ahalya upon him. Indra, lord of the gods, enamoured of her beauty, had presumed that this loveliest of women was meant for him and resented a forest-dwelling ascetic becoming her spouse."

"Vishvamitra tells Rama and Lakshmana that, assuming Gautama’s form in his absence, Indri approached Ahalya saying,"

"Those craving coitus cannot wait; I crave union, slim-waisted one!..."

"I am gratified. Now leave this place quickly, best of gods! Protect yourself and me from Gautama in every way."

"As Indra was leaving, however, Gautama returned. By his curse, Indra’s testicles fell off. Another version in the Mahabharata states that Indra’s beard was turned yellow by the curse. Ahalya was condemned to perform penance in that terrible forest, hidden from all, fasting (“subsisting on air”), sleeping in ashes, tormented by guilt. Gautama ordained that, purified of delusion (lobhamohavivarjita), by offering hospitality to Rama, she, fairest of all(varavarnini) would be redeemed to rejoin him."

"Creation’s sole beautiful woman, she is the archetypal feminine responding to the ardent, urgent, direct sexual advances of the ruler of heaven who presents such a dazzling contrast to her ascetic, aged, forest-dwelling husband. Ahalya already had a son, Shatananda, yet the deepest urges of her femininity remained unfulfilled."

"The Uttara Kanda version [Ramayana] is exculpatory, as may be expected of a later addition to the epic. Here Agastya states that, infuriated at Brahma bestowing Ahalya upon Gautama, Indra raped her, thus absolving Ahalya of any active role in the liaison. Gautama cursed Indra to suffer imprisonment (by Meghanada), bear half the guilt of every act of rape and lose all peace of mind. As for Ahalya, she would cease to be unique as the only beautiful female – other lovely women would be born. (That is why men fall in love with different women, projecting their anima on to them.) When Ahalya protested that she could not recognise the disguised Indra and was not guilty of wilful wickedness, Gautama relented and said that he would take her back after she had been purified through Rama accepting her hospitality."

"In the Mahabharata version, stated in the Shanti Parva, where the furious Gautama commands his son Chirakari to slay his polluted mother. But later regrets his rash command, realising that the fault lies not with his wife but with the lustful Indra. The Brahma Purana has Gautama turn Ahalya into a dry stream and disfigure Indra – who, terrified, has become a cat – with a thousand marks of the vulva. When Ahalya pleads her ignorance, Gautama grants her redemption upon her mingling with the Gautami River. By bathing in the same river, the marks on Indra’s body turn into eyes and he becomes “thousand-eyed” like the Greek Argus."

"The Katha-Sarit-Sagara version provides a clue to the psychological condition of Ahalya. The story is told to illustrate how evil acts lead to suffering for evildoers. On Gautama’s return, as in the Brahma Purana, Indra flees in the form of a cat and is cursed to be covered with the marks of the vulva he had so coveted. Replying to the sage’s enquiry about who had been in the cottage, Ahalya dissimulates, saying that it was a majjara (in Prakrit meaning both “cat” or “my lover”, because of which a synonym for Indra is Ahalyayaijara). She is punished by being turned to stone, reflecting the social ostracism of transgressing women and their consequent psychological trauma."

"Rama, at Vishvamitra’s behest, regards her as blameless and inviolate, as her name connotes. When he and Lakshmana touch her feet in salutation, this recognition restores her self-respect and her status in society, so that she truly lives again."

"Vishvamitra repeatedly refers to Ahalya as mahabhaga, most virtuous and noble – [for him] Ahalya was not a fallen woman."

"The Creator, it seems, with utmost care had perfected this form, divine, enchanting. Like a tongue of flame smoke-shrouded, Like the full moon’s glory ice-reflected, Like blinding sunlight mirrored in water."

"Gautama cursed his impotence and raged… she stood petrified… uncomprehending… in stony silence... withdrawn into the secret cave... of her inviolate inner self.... she had her shelter.... sanctuary... benediction... within, perfect, inviolate… in the one-ness of spirit... with rock rain and wind... with flowing tree... and ripening fruit and seed that falls silently... in its time... into the rich dark earth."

"What were your dreams, Ahalya, when you passed Long years as stone, rooted in earth, prayer And ritual gone, sacred fire extinct In the dark, abandoned forest-shram? Earth Merged with your body; did you know her vast Love, did hazy awareness haunt your stone? ...And keep you blindly, dimly, half-awake? ...When life’s excited zest Rushed along branching paths in numerous forms To conquer the desert, did it rise in outrage, Circle your stone and crush your sterile curse? Didn’t its pounding blows shake you awake?... Did you, long asleep on her breast, enter That place of oblivion, cool as endless night, Where millions sleep forever without fear, Resting their life’s exhaustion in the dust, Where withered flowers fall in the day’s heat, Burnt-up stars and meteors, crumbled fame, Sated pleasure, grief too tired to sting? There, Earth smoothed with her soothing hand Your lines of sin and stress. Today you shine Like a newly woken princess, calm and pure. You stare amazed at the dawn world. The dew Which moistened your stone at night shimmers now On your black, loosely-flowing hair. The mosses Which clothed you with the green mantle of Earth, Thickened and brightened by each fall of rain, Are now a sari lightly placed by a mother’s Loving hand on your glorious naked limbs. The world smiles; you recognise that smile. You gaze; your heart swings back from the far past, Traces its lost steps. In a sudden rush, All round, your former knowledge of life returns... Like first Created dawn, you slowly rise from the blue Sea of forgetfulness. You stare entranced; The world, too, is speechless; face to face Beside a sea of mystery none can cross You know afresh what you have always known."

"In Shiva Purana, Ahalya in an incident said to have occurred in another epoch (yuga). During a hundred year drought, Gautama’s ascetics resulted in Varuna gifting him an inexhaustible well, because of which his hermitage became a refuge for the distressed, including the Seven Sages. The wives of the Seven Sages abused Gautama’s disciples, insisting on having access to the well first. When Ahalya went to resolve the dispute, they abused her as well and lied to their husbands about what had happened. Blinded by passion for their wives, these sages turned to Ganesha, the vighna-karta, god of obstacles. They had him turn into an illusory cow that fell dead at Gautama’s touch, whereupon they stoned Ahalya and Gautama, driving them out of the hermitage. Shiva cursed the sages and their wives to be outside the Vedic pale, dooming them to perdition. Here Ahalya is a foil to the wickedness of the sages’ wives, instead of being the ‘fallen’ one."

"After Rama had touched the stone, she was transformed into the self same Ahalya. Rama reconciled her with Gautama. Ahalya and Gautama lived in the same hermitage again for another long period. This seduction is explained mythically...as Indra [the sun’s] carrying away the shades of night, Ahalya signifying night."

"Before Gautama had cursed Ahalya she had a son, named Satananda who was Upadhyaa (Guru] at the Rajas of the Nimi dynasty. She had a brother Divodasa, who was the king of Uttara Panchala. Ahalya had asked Uttanka, a disciple of Gautama to bring the ear-rings of the queen of Saudasa, in which task was successful. In the Vedas, Indra has been called the ‘lover of Ahalya’, which shows that the episode of Indra-Ahalya is only mythical."

"Certain modern scholars are of the view that Ahalya stands for 'barren land' and when Rama redeemed Ahalya, it means that Rama made the land of the south as fertile."

"In the Ahalya (Kannada) poetic drama: The gross in the natures of both Gautama and Ahalya – the ambition of the one and the temptation of the other - has been cured through cathartic experience. Sage Gautama, after giving Ahalya a son, named Satananda, is inspired by the ambition to acquire through penance the power to master the three worlds. In the process he starves his young wife’s natural longings. The Cupid is trying hard to distract Gautama. In the meantime finding Ahalya alone and so almost deserted by her husband, Indra approaches Ahalya. She too all along had admired Ahalya. Finding herself torn between duty and [[desire, she finally yields to Indra, just when Gautama, wheedled by Cupid, breaks his vow and approaches her. He comes to love but finding that he has lost both his love and vow, he curses her to an invisible existence feeding on air until Rama should arrive to redeem her and walks away to regain his lost peace of mind."

"The well-known Sanskrit hymn that defines the Panchakanyas (five iconic heroines of Hindu epics) runs:"

"Sanskrit transliteration IAST: ahalyā draupadī sītā tārā mandodarī tathā । pañcakanyāḥ smarennityaṃ mahāpātakanāśinī॥"

"English translation: Ahalya, Draupadi, Sita, Tara and Mandodari One should forever remember the Panchakanya who are the destroyers of great sins."

"Drupada, had a daughter risen from the centre of the sacrificial altar. Of eyes like lotus-petals and of faultless features endued with youth and intelligence, she is extremely beautiful. And the slender-waisted Draupadi of every feature perfectly faultless, and whose body emitteth a fragrance like unto that of the blue lotus for two full miles around who's existence could take away people's breath, she was the most beautiful women ever born."

"A mysterious prophecy resounds, and the bewitchingly beautiful princess Draupadi arises from the sacred fire in Panchala."

"The faultless Draupadi, slender-waisted like the wasp, was born of a portion of w:SachISachi (the queen of the celestials), in the line of Drupada. And she was neither low nor tall in stature. And she was of the fragrance of the blue lotus, of eyes large as lotus-petals, of thighs fair and round, of dense masses of black curly hair. And endued with every auspicious feature and of complexion like that of the w:Emeraldemerald, she became the charmer of the hearts of five foremost of men."

"Drupada had long cherished the hope that Arjuna would become his daughter's husband. He never revealed his wish to any man, but ere he proclaimed the swayamvara of Draupadi, he thought of the great Pandava archer, and caused to be made a powerful bow which only a strong man could bend and string...He issued the proclamation: “The man who will bend the bow and shoot an arrow through the wheel which will strike and bring down the golden fish shall obtain my daughter in marriage.""

"The rajahs then descended from their gorgeous thrones and gathered around Draupadi as the bright gods gather around Párvati, the mountain bride of Shiva. Their hearts were filled with love for the maiden and with hate for one another. Rivals frowned upon rivals. Those who had been close friends became of a sudden angry enemies because that Draupadi was so beautiful. Soon many rajahs strained their arms in vain."

"I am a king's [[daughter, and will not wed with the base-born. . . ."

"He [Arjuna disguised as a Brahmin] drew the cord, and the arrow flew upwards with a hissing sound; it hit the target eye, and the golden fish fell over and clashed upon the ground. The heart of Draupadi was filled with joy, and, smiling coyly, she advanced towards Arjuna and flung the golden bridal garland over his shoulders. Celestial blossoms fluttered, descending through the air, and the sound of celestial music was heard."

"Arjuna took Draupadi by the hand and led her away in peace from that scene of angry strife. So ended the swayamvara, and Krishna declared that the bride had been fairly won."

"The Pandava brethren went towards the house of the potter, and they entered and addressed their mother Pritha, saying: "A great gift have we obtained this day. Said Pritha [Kunti] said "Then share the gift between you, as becomes brethren." Yudhishthira said: "What hast thou said, O mother? The gift is the Princess Draupadi whom Arjuna hath won at the swayamvara.""

"The Pandavas married Draupadi, the Pancala princess, daughter of Drupada, and the Pancalas were the staunch supporters of the Pandavas."

"They [Pandavas] came to Drupada's capital, Kampilya, where Arjuna won Draupadi, the princess, in a svayamvara contest. Hearing of the success of the Pandavas, Dhritarashtra called them back to Hastinapura and gave them the Khandava-Prastha, where Mayasura erected for them a wonderful assembly hall."

"My tongue never uttereth an untruth and my heart never inclineth to what is [sin]ful. When my heart approveth of it, it can never be sinful. I have heard in the Purana that a lady of name Jatila, the foremost of all virtuous women belonging to the race of Gotama had married seven Rishis. So also an ascetic's daughter, born of a tree, had in former times united herself in marriage with ten brothers all bearing the same name of Prachetas and who were all of souls exalted by asceticism. O foremost of all that are acquainted with the rules of morality, it is said that obedience to superior is ever meritorious. Amongst all superiors, it is well-known that the mother is the foremost. Even she hath commanded us to enjoy Draupadi as we do anything obtained as alms. It is for this, O best of Brahmanas, that I regard the (proposed) act [of marriage of all five brothers with Draupadi] as virtuous."

"'O Sankara, I desire to have from thee only one husband possessed of every virtue?"

"Thou hast, O maiden, addressed me five full times, repeating, 'Give me a husband.' Therefore, O amiable one, it shall even be as thou hast asked. Blessed be thou. All this, however, will happen in a future life of thine!**Sankara in:"

"O Drupada, this thy daughter of celestial beauty is that maiden. Indeed, the faultless Krishna sprung from Prishata's race hath been pre-ordained to become the common wife of five husbands. The celestial Sri, having undergone severe ascetic penances, hath, for the sake of the Pandavas, had her birth as thy daughter, in the course of thy grand sacrifice. That handsome goddess, waited upon by all the celestials, as a consequence of her own acts becomes the (common) wife of five husbands. It is for this that the self-create had created her. Having listened to all this, O king Drupada, do what thou desirest."

"The gods have already declared that she will become the wife of all the five Pandava brethren... Pandava brethren were five incarnations of [[w:Indra|Indra, and thus were but as one."

"The enmity and jealousy that develops between the cousins forces the Pandavas to leave the kingdom when their father dies. During their exile the five jointly marry Draupadi (who is born out of a sacrificial fire and whom Arjuna wins by shooting an arrow through a row of targets) and meet their cousin Krishna, who remains their friend and companion thereafter Although the Pandavas return to the kingdom, they are again exiled to the forest, this time for 12 years, when Yudhishthira loses everything in a game of dice with Duryodhana, the eldest of the Kauravas."

"The denuding of Draupadi occurred after the game [dice], but the honour of Draupadi was saved by the grace of Krishna. Dhritarastra, however, returned everything to the Pandavas. Soon afterwards the second game of dice was played in which the stake was that the loser should spend twelve years in the forest and the thirteenth year incognito. This time also Pandavas were defeated and they had to leave for the forest, when Draupadi accompanied them."

"Draupadi, heroine of the Mahabharata epic, is bold and forthright even in adversity. Her husband Yudhisthira succumbing to his weakness for gambling, stakes and loses all (in a rigged game), including his wife. Draupadi challenges the assembly and demands to know how it is possible for one who has staked and lost his own self to retain the right to wager her."

"Duryodhana, the winner of the bet, insists that Draupadi is indeed his to do with as he pleases and orders that she be disrobed. Furious at this insult to her honor, Draupadi loosens her coifed hair and vows that she will not knot it again until she has washed it in Duryodhana's blood. As she is disrobed, the more her sari is pulled away the longer it becomes. It is this event which turns Draupadi from a contented, but strong willed wife into a vengeful goddess."

"Draupadi was appointed as a chambermaid to the queen Sudesna. The Pandavas passed the thirteenth year with great caution, as otherwise they had to repeat a further 12-year exile."

"Draupadi experienced an unpleasant adventure [as chambermaid]. Kicaka, the commander-in-chief and brother-in-law of the king falls in [[love with the pretty chamber-maid and waylays her. But even at the time when she was appointed by the queen, Draupadi had given out that she was the wife of five Gandharvas who would protect her in difficulties."

"The cowherds come to Uttara, the young prince, who has stayed back in the town, and exhort him to march against the Kauravas. But he has no charioteer. Draupadi then mediates through the princess to make Uttara take Arjuna as charioteer."

"After the period of exile, during which the Kauravas try in vain to persecute or even kill them, they demand their rightful kingdom which is, however, denied. A grim battle ensues."

"My brothers have all dropped down here. They must go with me. Without them by me I do not wish to go to Heaven, O lord of all the deities. The delicate princess (Draupadi) deserving of every comfort, O Purandara, should go with us. It behoveth thee to permit this."

"This one is Sree herself. It was for destroying the evil, that she took birth, as the daughter of Drupada, among human beings, issuing not from any mother’s womb, O Yudhishtira, endued with agreeable perfume and capable of delighting the whole world. She was born in the race of Drupada and was enjoyed by you all."

"King Drupada was a great king, king of the Panchalas, and his daughter, Draupadi, famed far and wide for her beauty and accomplishments, was going to choose a hero...at a Svayamvara."

"When all those princes failed in hitting the mark, then the son of King Drupada rose up in the midst of the court and said: "The Kshatriya, the king caste has failed; now the contest is open to the other castes. Let a Brahmana, even a Shudra, take part in it; whosoever hits the mark, marries Draupadi.""

"Among the Brahmanas were seated the five Pandava brothers... He lifted the bow in his hand, strung it without any effort, and drawing it, sent the arrow right through the wheel and hit the eye of the fish. Then there was great jubilation. Draupadi, the princess, approached w:Arjuna|Arjuna and threw the beautiful [[garland of flowers over his head."

"The five brothers now returned home to Kunti with the princess... They shouted out to her joyously, "Mother, we have brought home a most wonderful alms today." The mother replied, "Enjoy it in common, all of you, my children." Then the mother seeing the princess, exclaimed, "Oh! what have I said! It is a girl!" But what could be done! The mother's word was spoken once for all. It must not be disregarded. The mother's words must be fulfilled. She could not be made to utter an untruth, as she never had done so. So Draupadi became the common wife of all the five brothers."

"In ancient India, if a man of the military caste was challenged to fight, he must at any price accept the challenge to uphold his honour. And if he was challenged to play dice, it was a point of honour to play, and dishonourable to decline the challenge. King Yudhishthira, says in the Epic, she [Draupadi] was the incarnation of all virtues. Even he, the great sage-king, had to accept the challenge. Shakuni and his party had made false dice. So Yudhishthira lost game after game, and stung with his losses, he went on with the fatal game, staking everything he had, and losing all, until all his possessions, his kingdom and everything, were lost. The last stage came when, under further challenge, he had no other resources left but to stake his brothers, and then himself, and last of all, the fair Draupadi, and lost all. Now they were completely at the mercy of the Kauravas, who cast all sorts of insults upon them, and subjected Draupadi to most inhuman treatment. At last through the intervention of the blind king, they got their liberty, and were asked to return home and rule their kingdom. But Duryodhana saw the danger and forced his father to allow one more throw of the dice in which the party which would lose, should retire to the forests for twelve years, and then live unrecognised in a city for one year; but if they were found out, the same term of exile should have to be undergone once again and then only the kingdom was to be restored to the exiled. This last game also Yudhishthira lost, and the five Pandava brothers retired to the forests with Draupadi, as homeless exiles."

"Draupadi, is often aggressive and outspoken. In one episode, in [Mahabharata] she throws her would-be assailant, Kicika, the brother-in-law of King Virata, to the ground and then proceeds violently to castigate one of her husbands, Bhimasena, for his failure to protect her virtue."

"Draupadi, like Sita, makes her first appearance in the epic at an assembly at which the heroes (or hero) have demonstrated their physical prowess. The contest and the wedding delineates the character of the hero more than that of the heroine."

"Draupadi’s wedding contest... when the Pandavas, disguised as brahmans hiding from their cousin [[w:Duryodhana|Duryodhana, are living in a brahman’s house at Ekacakra. One day a brahman visits them and tells them of the pending “self-choice” of Drupada‘s daughter. Questioned by the Pandavas about the unusual birth of both Draupadi and her brother, the brahman proceeds to tell the history of Drupada’s family and that king’s enmity with the sage Drona. Upon hearing this story and the events surrounding the birth of Draupadi and her brother from the sacrificial fire, the Pandava brothers....decide to go to the court of Drupada and to participate in his daughter’s “self-choice.” The events that follow, the contest, [are] the winning of the princess, and her polyandrous marriage to the brothers."

"Description of Draupadi at her birth from the sacrificial fire in Mahabharata:... the princess from Panchala rose up from the middle of the sacrificial fire. She was beautiful and enchanting; she had a lovely body and a waist the shape of the sacrificial altar. She was dark, had eyes like lotus leaves, and dark, wavy hair, She was a goddesswho had taken on a human form. Her scent, like that of a blue lotus, perfumed the air for the distance of a mile. She possessed the most beautiful figure; none was her equal on earth."

"Draupadi appears in the arena for her “self-choice"... Immediately after her marriage, she is fond of her new “brahman” husbands: she is depicted as patiently serving them and dutifully sleeping at their feet."

"During the famous, yet fateful, dicing match between Yudhisthira and Duryodhana, the impact of the dicing episode is somewhat dissipated at its conclusion. The Pandavas are set free, rather than remaining slaves of their cousins, the events not only set in motion the action of the remainder of the epic, but establish important information for the audience about the characters of the epic and their interrelationships"

"From the outset of the Mahabharata the physical appearance of Draupadi is known than the majority of Indian epic heroines."

"Draupadi, how do you behave with these respected Pandavas, young heroes similar to the world guardians? How do they remain under your influence and why do they never become angry, beautiful woman? You, of lovely countenance, always have control (influence) over all those Pandavas, who have their eyes (glances) fixed on your face; tell me this truthfully! Was it a religious vow, austerities, ablutions, mantras, or magical herbs, the power of secret spells, or the power of roots, or repetition of sacred words, or offerings or drugs? Tell me, lady of Panchala, the lucky secret that brings you [matrimonial] good fortune."

"Draupadi denies employment of any such devices to retain the devotion of her husbands, but rather attributes their love to her exemplary behavior."

"I avoid excessive mirth [arrogance] or excessive vexation and anger and am always, Satya, engaged in serving my husbands."

"Dressed in only one garment, which had its ends (tied) low“) and menstruating, she entered the assembly. The woman from Panchala went before her father-in-law (Dhritarastra)."

"Draupadi begs not to be brought before the assembly in her condition. Angered, she looks over to her husbands who sit in front of the gathered nobles and watch her humiliation: The loss of the kingdom, wealth, or the most valuable jewels, did not cause the pain that was caused by the infuriated glare of that tormented Krsna."

"He (Dhristadhyumna) has a sister, Draupadi. She has a beautiful body and a slender waist. Her scent, like that of a blue lotus, perfumed the air for the distance of a mile."

"Yudhisthira, in his frenzied desire to win back the kingdom, has staked her as his last possession. In his anxiety, he describes her as a handsome and perfect wife, that her value might be worth his opponent’s stake."

"She is not too short, nor is she too large; nor is she too dark nor is her complexion red. She has eyes reddened from passion. I will stake her—whose eyes and fragrance are like autumnal lotuses. Attached to modesty, she is, in beauty, equal to Sri, the goddess of beauty. Were a man to desire a woman, she would be like this one, on account of her kindness; she would be like this one, on account of her beautiful figure; she would be like this one, on account of her perfect character. She is the last to sleep and first to awaken. She knows everything, down to the jobs both completed and not yet done by the cowherds and shepherds. Like the jasmine flower, the mallikfi, is she; with her perspiring face she appears similar to a lotus. She has red eyes, long hair, a waist as slender as the sacrificial altar, and a body with no excessive hair."

"The question whether Draupadi has been legitimately won over is debated by the kings. Karna, insisting that she has been, orders Duhsasana to strip her garment from her body: Then, king, Duhsasana forcibly took hold of Draupadi’s garment and began to take it off. But, lord of men, just as Draupadi’s garment was being pulled off, other garments, one following the other, of the same type appeared! All those kings, observing that miracle on earth, let forth a loud, terrifying sound of “hala hala.”"

"Keep in mind these words of mine. you Ksatriyas who inhabit the earth, what I say has never before been said, and none will say it again. If I do not carry out my vow, lords of the earth, then let me not obtain the worlds of all our grandfathers-ill, if, in battle, do not violently split open the chest and drink the blood of this low-born sinner, this most despicable among the Bharatas!"

"Draupadi addresses the kings, demanding to know how they, who are supposedly learned in the ways of proper conduct, could allow her to be so humiliated."

"How is it that the wife of Pandus, the sister of Parsata [Dhrstadyumna], the friend of Vasudeva Krsna, could be brought before the assembly of kings? Tell me whether or not I, King Dharma’s wife, born of equal station, am a slave. Then I will do as commanded, Kauravas!"

"Bhisma demands that Yudhisthira himself answer the question [of Draupadi], and the assembly becomes quiet in anticipation of his answer. Yudhisthira remains silent but finally Dhrtarastra, who has observed evil omens portending the downfall of the Kauravas, gives Draupadi a boon, as she is the most distinguished of his daughters-in-law and devoted to dharma."

"The staking of Draupadi is meant to bring final and utter ruin to the Pandavas. And as she is displayed in front of the assembly, the brothers are humbled. From the outset Draupadi has realized that her husbands will take no stand in her defense. Her embarrassment at being dragged before a public assembly quickly turns into rage—a rage directed not only against her husbands but against all those gathered at the dicing match. For her presence is more than just a final and utter humiliation of the Pandava princes. More poignantly, it proves to be a humiliation for all the men present. The episode is ironic."

"During the scene the beautiful Draupadi is possessed also of quick wit and a clever tongue. Her ability at debate is soon demonstrated, and at the conclusion of the episode, we realize that her wit has saved her husbands from impending slavery. Draupadi’s resentment at having been so insulted by her husbands’ relatives does not die easily. Her desire forrevenge is strong, and she rarely is able to pass up an opportunity to complain to her husbands, particularly Yudhisthira, about her ill-treatment and her ill-luck at having such a lot for husbands. To some extent, one can attribute the final war to Draupadi’s continual harping on the insult she received in the assembly and her husbands’ failure to avenge it. Draupadi, whose indignation at her treatment has only intensified, complains bitterly to the Vrsni hero [Krishna]."

"Madhusudana, out of affection I will tell you, who are the lord of creatures divine and mortal, my troubles. Krsna, why was a woman like me, wife of the Parthas, your friend, 0 lord, and sister of Dhrstadyumna, dragged into the assembly? Menstruating, tormented and trembling, with blood flowing, and wearing but one garment, I was dragged into the assembly of the Kurus. In the assembly, in the middle of the kings, those evil-minded descendants of Dhrtarastra looked upon me, still menstruating, and laughed. While the Pandavas, Panchalas, and Vrsnis were still alive, those Kauravas, Madhusudana, desired to enjoy me like a serving wench. Krsna, am I not according to law the daughter-in~law of both Bhisma and Dhrtarastra? I was forced to become a slave. I blame only these strong Pandavas, men held to be the best in battle, who watched their lawful and illustrious wife being tormented. A curse onBhimasena’s strength, a curse on the archer Partha’s; both of them stood by while vile men insulted me."

"She continues, at length, to despair about her ill treatment at the hands of the Kurus and to revile her husbands, who having done so much for others, had done nothing to avenge her. Finally she says:"

"I have no husbands, no sons, no brothers, no father, no relatives, not even you, Madhusudana. As if free from all grief, you all stood by while vile men insulted me."

"Krsna takes it upon himself to assure the indignant Draupadi that the Kauravas will be punished for her ill-treatment."

"She [Draupadi] is depicted not only as having suffered great insult, but faithfully following her husbands into exile and enduring the hardships of the forest. It is from these scenes, and not from her life in the palace, that we learn of the real character of Draupadi."

"Draupadi praises her own attitude towards Kunti, and yet, it seems, implies that her relationship with her mother-in-law is not the ideal one stressed, and that her exemplary behavior has called for great sacrifices on her part. Furthermore, she subtly chides her husbands once again for their lack of understanding of household matters and their inability to control the treasury."

"Her character is further developed by the epic poet in two other important episodes. Both involve, like the dicing match, sexual assaults on the princess. The first is found at Aranyakaparvan. Here, Draupadi, left by the Pandavas at the ashram of the sage Trnabindu in the Kamyaka forest, is espied by Jayadratha, the king of the Sindhus. He falls madly in love with the beautiful princess, and sends a messenger to discover who she is. Upon the messenger‘s return the lovesick king confesses:"

"I tell you honestly, great armed man, having seen her, all other women look like female monkeys!"

"The messenger informs Jayadratha that she is Draupadi, wife of the Pandavas, and advises him to leave well enough alone. But the lovesick king refuses the good counsel and goes to the hermitage of Trnabindu to meet her. He propositions her; Draupadi, alone and insulted, is enraged at such a suggestion and in the expectation of her husbands' imminent return, reviles the king and swears revenge. But Jayadratha does not think that the strength of the Pandavas is as great as she has suggested and grabbed her where her upper garment was. She pushed him away. His body repulsed by her, that evil man fell to the ground like a tree with its roots cut."

"But the princess Krsna [Draupadi], though prostrating herself in front of (the priest) Dhaumya, was immediately seized again, repeatedly let forth sobs, and was dragged up into the chariot. The princess’ serving woman is left behind and informs the Pandavas on their return of her abduction. The brothers set out in pursuit of Jayadratha and Draupadi. A battle ensues in which the Pandavas soundly defeat the forces of Jayadratha, who, seeing the devastation, releases Draupadi and flees from the scene."

"There is yet another important episode in which Draupadi suffers a sexual assault. This occurs during the last year of their exile, the Pandavas and Draupadi go to the court of Virata and assuming various disguises dwell there for a year. Yudhisthira poses as a brahmin who is skilled in dicing, Arjuna as a eunuch who will teach singing and dancing, Bhima as a cook, Nakula as a groom and Sahadeva as a cowherd."

"Our beloved wife, who is dearer to us than our own lives, must be protected like a mother and worshipped like an elder sister. What kind of work can Krsna, the daughter of Drupada, do? She knows nothing (not even) how to do the work of women. Our illustrious princess is young and delicate. How is it possible that our devoted wife, this noble lady, work? She is a beautiful young woman, who, from the time she was born, has known only these garlands, perfumes, ornaments, and various costumes."

"Draupadi solves the problem by saying that she will assume the guise of ahairdresser for the wife of Virata and convinces her husbands that Queen Sudesna will protect her. The Pandava brothers and Draupadi then take up residence at the court of Virata. While there Kicaka, brother of Queen Sudesna, espies Draupadi and is smitten by her beauty. Kicaka propositions her, but she quickly rejects him. Kicaka, even more infatuated by the luckless princess, enlists the queen’s aid to help him win her. Sudesna, despite the protestations of Draupadi, sends her to Kicaka‘s chamber with some liquor. Draupadi, upset at being sent into what she correctly perceives is a compromising situation, prays to Surya, the sun god:"

"As I have never claimed another man but the Pandavas, by this truth, let me not fall under Kicaka‘s power when I arrive there."

"The raksasa sent by Surya pushes Kicaka senseless to the floor. Bhima becomes enraged seeing Draupadi so treated, but is prevented by Yudhisthira from taking any action."

"How do (my) strong and illustrious (husbands), like eunuchs, endure me——their dear and faithful wife being assaulted by the son of a suta? Where is the anger, virility, and courage of those who do not wish to defend a wife being assaulted by a wicked man."

"I am the virtuous wife of men who are all too lenient in this respect. Among those whose leader is a gambler...here, anyone might abuse (kick) them."

"What shall I do? Where will I go? How may I achieve my goal?"

"No one but Bhima will carry out today that which is dear to my heart."

"On account of that gambler [Yudhishtira], I am a cleaning woman for Sudesna... wandering around the king’s palace in the guise of aSairandhri woman."

"How can you, Partha [Bhima], slayer of enemies think me happy, overcome by hundreds of troubles on account of Yudhisthira."

"He [Bhima] swears to defend her. He devises a plan: Draupadi is to arrange an assignation with the love-sick prince, but Bhima, disguised as a woman, will meet Kicaka in her place. The plan is carried out, and in an unusual and amusing, if somewhat grisly, confrontation, Bhima meets and finally kills Kicaka."

"The dicing match, the lament to Vasudeva Krsna, the conversation with Satyabhama, the abduction by Jayadratha, and the episode in Virata’s court, all depict Draupadi as an aggressive and dynamic character. In these episodes she is effectively contrasted with her cautious and ineffectual husband Yudhisthira and his subservient, although less passive, younger brothers Bhimasena and Arjuna."

"The aggressive behavior of Draupadi can be seen as a powerful defense mechanism, a means by which she can express feelings of rejection and depression that have developed out of her frustrations at the inability or unwillingness of her husbands to act in her defense."

"Draupadi had hoped to find her missing mother in her mother-in-law, she is tragically deceived, as Kunti thrusts her into a polyandrous marriage that exposes her to salacious gossip reaching a horrendous climax in Karna declaring her a whore whose being clothed or naked is immaterial."

"Draupadi’s motherlessness seems to be carried forward into her own lack of maternal feelings. Her five sons are not even nurtured by her. She sends them to Panchala and follows her husbands into exile to ensure that the wounds of injustice and insult inflicted upon them and herself remain ever fresh."

"The South Indian Draupadi cult specifically states that her sons were not products of coitus but were born from drops of blood that fell when, in her terrifying Kali form, her nails pierced Bhima’s hand. Draupadi is a sterile Shri, like Jyeshtha or Alakshmi. Her solitariness as a kanya is stressed explicitly after the war when Yudhishthira tells Gandhari that the Panchalas are exterminated, leaving only a kanya as their remainder: pancalah subhrisham kshinah kanyamatra vasheshitah."

"Draupadi finds her five husbands discarding her repeatedly. Each takes at least one more wife. She never has Arjuna for herself, as he marries Ulupi, Chitrangada and has Subhadra as his favourite. Yudhishthira pledges her like chattel at dice. Finally, they leave her to die alone on the mountainside at the mercy of wild beasts, like a pauper, utterly rikta, drained in every sense."

"Draupadi has five husbands—but she has none— She had five sons—and was never a mother... The Pandavas have given Draupadi... No joy, no sense of victory No honour as wife No respect as mother — Only the status of a Queen... But they have all gone And I’m left with a lifeless jewel And an empty crown... my baffled motherhood Wrings its hands and strives to weep."

"Draupadi is used first by Drupada to take revenge on Drona by securing the alliance of the Pandavas, and then by Kunti and the Pandavas to win their kingdom thrice over (through marriage; in the first dice game; and as their incessant goad on the path to victory). Unknown to her, even sakha Krishna throws her in as the ultimate temptation in Karna’s way, assuring him that Draupadi will come to him in the sixth part of the day, shashthe catam tatha kale draupadyupagamisyati."

"Kunti urges Karna to enjoy (bhunkshva) Yudhishthira’s Shri (another name for Draupadi) that was acquired by Arjuna. Here is an unmistakable harking back to Kunti’s command to her sons to enjoy (bhunkteti) what they had brought together when Bhima and Arjuna had announced their arrival with Draupadi as alms. No wonder Draupadi laments that she has none to call her own, when even her sakha unhesitatingly uses her as bait!"

"Draupadi made the unforgivable ‘mistake’ of publicly refusing to accept Karna as a suitor and of laughing at Duryodhana (as he laments to his father Dhritarashtra) when he made a fool of himself in Indraprastha’s magical palace, capping this with refusing to obey Duryodhana’s summons to appear in the dice-game assembly unless her question was answered. She had to be taught a lesson."

"During the forest exile Draupadi prides herself on her fame as a sati exceeding that of any ruler. Krishna crushes her pride by creating an unseasonal mango that she craves for and has Arjuna pluck for her. Krishna warns that this is the only food of a terrible ascetic, whose anger will turn all of them into ashes, and that only if they confess their secret desires will the mango be refixed to its branch. The mango almost touches the tree as the brothers state what obsesses each of them, but falls down when Draupadi states that revenge is her sole desire. Arjuna threatens to kill her, and then she has to confess that having Karna as her sixth husband has been her secret wish. Bhima—her invariable rescuer—upbraids her unmercifully for her evil nature."

"There is a feature that sets Draupadi quite apart from her fellow kanyas. Between the 12th and 15th centuries she became the central figure in a number of bardic epics. Draupadi is the only kanya to whom a living cult is dedicated, with temples dotting the Gingee-Pondicherry area of Tamil Nadu and street plays held annually celebrating her greatness."

"Draupadi has always been the goddess of the common people. A recent parallel would be the way Meera’s bhajans are sung by the marginalized and lower castes in Rajasthan. The Dropadai Amman Festivals are quite well known and there are night-long dramas (theru-koothu) on the Mahabharata. The political leaders knew this socialeality, so they did not dare to say anything against her or burn the Mahabharata or write nastily about her."

"For the marginalized would have protested in a big way...Even after becoming legends, it is Draupadi who remains a threat to the political animal and so he will not touch even the fringe of her pallu [The loose end of a sari], as he knows what happened when Duhshasana rose to disrobe Draupadi!"

"No, a revengeful woman cannot win...Draupadi is too dramatic to be a role model for the weak and the exploited. Women cannot identify with Draupadi, with all her five husbands, and with Lord Krishna for a personal friend. With her unconventional lifestyle and thirst for vengeance, Draupadi inspires awe."

"Draupadi is also the only kanya to have become a symbol of the oppressed and grossly humiliated Indian nation. While watching a night long street play in the Draupadi Amman Festival, the great Tamil poet Subramanya Bharathi was struck by the powerful appeal she had for common folk and penned an epyllion, Draupadi Sapatham (“Draupadi’s Vow”) depicting her as the wronged princess, the nation-in-shackles, a symbol of perfect surrender to the Divine and the representative of womanhood subjugated for millennia."

"The epithet kanya is applied to these women is because they were not engendered in the usual way “but were created from various elements which compose the universe thereby establishing that their sanctity and chastity is not bound by physical bodies...Ahalya, Sita, Draupadi, Tara and Mandodari are the epitome of chastity and purity but were punished for no fault of theirs. Given the precarious situations they were in, these women still came out unscathed and set examples of being ideal women."

"Mahari dance tradition in which the Oriya verse goes: Pancha bhuta khiti op tejo maruta Byomo Pancha sati nirjyasa gyani bodho Gomyo Ahalya Draupadi Kunti Tara Mandodari totha Pancha kanya..."

"Five elements, earth, water, fire, wind, ether are in essence the five satis. This the wise know Ahalya, Draupadi, Kunti, Tara and Mandodari - Five virgins...Ahalya personifies water, Draupadi represents fire, Kunti symbolises mother earth, Tara personifies wind and Mandodari ether. Draupadi’s personality personifies fire, while Sita (whom she incongruously includes in the group instead of Kunti) is the daughter of the earth."

"Ahalya for her forbearance is likened to the freshness and active nature of the wind; Tara (all the three women of that name, that is, Harishchandra’s queen, Vali’s wife and Brihaspati’s wife who is Chandra’s beloved) is associated with space and has the quality of intelligence, compassion and large-heartedness; Mandodari with the element of water, turbulent on the surface yet deep and silent in her spiritual quest."

"The well-known Sanskrit hymn that defines the Panchakanyas (five iconic heroines of Hindu epics) runs:"

"Sanskrit transliteration IAST: ahalyā draupadī sītā tārā mandodarī tathā । pañcakanyāḥ smarennityaṃ mahāpātakanāśinī॥"

"English translation: Ahalya, Draupadi, Sita, Tara and Mandodari One should forever remember the Panchakanya who are the destroyers of great sins."

"Vedavati was performing austerities when Ravana, lord of the rakshasas, came into her hermitage and tried to rape her. To save herself. Vedavati jumped into the fire altar and burnt herself to death. Nine months later Mandodari gave birth to a girl child. Oracles discovered that she was Vedavati reborn. “Kill the child who will kill you”, they said. Ravana threw the child into the sea. The sea-god saved it and gave it to the earth-goddess, who gave her toJanaka, king of w;Mithila|Mithila. The child was named [[Sita, "she was furrowed out of the earth”, she went on to be the cause of Ravana’s death"

"Mahari dance tradition in which the Oriya verse goes: Pancha bhuta khiti op tejo maruta Byomo Pancha sati nirjyasa gyani bodho Gomyo Ahalya Draupadi Kunti Tara Mandodari totha Pancha kanya..."

"Five elements, earth, water, fire, wind, [[ether are in essence the five satis. This the wise know as Ahalya, Draupadi, Kunti, Tara and Mandodari Five virgins...Ahalya personifies water, Draupadi represents fire, Kunti symbolises mother earth, Tara personifies wind and Mandodari ether. Draupadi’s personality personifies fire, while Sita (whom she incongruously includes in the group instead of Kunti) is the daughter of the earth."

"Ahalya “for her forbearance is likened to the freshness and active nature of the wind; [[Tara (all the three women of that name, that is, Harishchandra’s queen, Vali’s wife and Brihaspati’s wife who is Chandra’s beloved) is associated “with space and has the quality of intelligence, compassion and large-heartedness; Mandodari with the element of water, turbulent on the surface yet deep and silent in her spiritual quest."

"The last of the five maidens is Mandodari, the chief queen of Ravana, the king of Lanka. Her role in the Ramayana is short; she is presented as a noble and majestic lady whom Hanumat could easily mistake for Sita. Mandodari graciously accepted Sita’s fidelity to Rama and compared her with Sachi, Rohini, and others. Mandodari was proud of her husband’s prowess but was aware of his weakness for the fair sex, which led to the abduction of Sita and brought about his destruction."

"Mandodari appears in the death scene of Ravana and laments over his death. In spite of all his faults, she loved him nonetheless and wanted him to make a truce with Rama so that he could avoid catastrophe. Compared to other four maidens, Mandodari's life is less colourful and eventful. Although she possessed all the necessary virtues of an obedient and faithful wife, Mandodari seldom got prominence as such. Her image lacks substance and fades away quickly."

"The profiles of eleven women who have been clearly referred to as ideals or given enough importance are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. Evidently, all of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may be recommended for daily prayers but none of them is regarded as an ideal woman, atleast not recommended by anyone for emulation by others. The only exception is Draupadi who was praised by Gandhi for her wisdom and courage."

"Roman alphabet:kslyatarh duskrtarh karma vanavasakrtarh tava; bharya me bhava susroni yatha mandodari tatha. kslyatam duskrtam karma vanavasakrtam tava."

"English translation: Let the unpleasant effect caused by your dwelling in the forest be destroyed, Be my wife, beautiful-hipped lady, like Mandodari."

"Mandodari is Ravana’s queen, favourite wife, daughter of Maya and the apsara Hema, and mother of Indrajit."

"Maya, the architect of the Daityas, son of Diti, whose abode the monkeys searching the south for Sita. He gives his daughter Mandodari as bride to Ravana."

"So thoroughly has she [Sita] been taken under Mandodari's wing that she is safer in this city than anywhere else in the world. They even hear a story about how her new protector dramatically stepped in to save her from rape by a besotted kidnapper."

"At Trikutagiri in Kiskindha of Lanka there was magniflcient Jain temple which was dedicated by Ravana, for the attainment of supernatural powers (Kiskindhayam Lankayah patalankayam Trikutagrirau Srisantinathah). To fulfil a desire of Mandodari, the principal queen, Ravana is said to have erected a Jaina statue out of jewels and this, it is said, was thrown into the sea when he was defeated by Ramachandra"

"Indrajit has been killed in battle and Mandodari, beside herself with grief, is dissuading Ravana from the battle - but Ravana casting off forcibly from his mind the grief for his son is firmly resolved on battle like a great hero, and forgetting in a fury of rage and vengeance all about his wife and children, is ready to rush out for battle."

"And the worthy daughters of those far-famed ladies [Ahalyâ, Târâ, Mandodari, Kunti, and Draupadi] of the Paurânika age, whose names we are to repeat every morning—they can no longer marry more than one husband at a time, even if they want to, and so they turn unchaste."

"A thousand women were sleeping beside him, and the chief among them was Mandodari, who lay upon his left side : and Hanuman looked carefully among Hanuman sun fails to find them, but he could not find Sita, for she was not there."

"Then Angada went to the inner apartment, and seizing Mandodari by the hair, he dragged her into the presence of Ravana, and ill-treated her before his face; and Mandodari began to cry aloud for help, saying:Behold the difference between you and enemy Rama. See what he is doing for the sake of his wife, and see what you are doing, while your own wife is being hurt and insulted."

"It is with Mandodari, the Frog Princess, Ravana’s wife and the last kanya portrayed by Valmiki, there is hardly anything special written about except that her assessment of the enemy is shrewd and correct. She warns her husband to return Sita to avoid destruction and has enough influence to prevent him from raping her."

"Of her birth, the danava Maya states in Uttara Kanda [of Ramayana] that she is born to him from the apsara Hema who left him after giving birth (as apsaras do)."

"A snake poisons the milk of a hermit as a frog watches. Realising the consequences, the frog jumps into the bowl of milk and dies instantaneously. The hermit, on his return, sees the frog in the milk and curses it for its gluttony. The curse reverses a former curse and the frog turns into the beautiful maiden and sharp, with voice like that of a vina (somber and majestic), with the gait of a white swan, flashing and restless eyes, and desired of all men."

"Two hermits, Mandar and Udar, refuse to share with the earth any part of their cow’s milk. Angered, she [Earth] despatches her son Maninaga to poison the milk. A female frog resident in their ashram notices this and jumps into the vessel of milk to save the sages. By their curse, she turns into a kanya [girl] whom they name Vengavati and affiance to Vali. He, however, has sexual intercourse with her before marriage and she becomes pregnant. Ravana asks the hermits for her hand. When they refuse, he assumes Vali’s form (like Indra with Ahalya) and spirits her away. Pulled in opposite directions by Ravana and Vali, she splits into two, giving birth to Angad Yama and Vayu revive her. Thus, she is a double of Tara. Being obtained through ill means, she was named Mandodari; or perhaps she was named after the two sages who turned her from a frog into a woman."

"Vishnu created her from the sandalwood paste smeared on his body to delude Ravana into believing that she is Parvati, whom he has asked for from Shiva. According to the Ranganath Ramayana, it is Parvati who makes the doll and Shiva breathes life into it. The doll is Mandodari, whose beauty causes Parvati concern; she has Shiva turn Mandodari into a frog. When Maya begs for children, Shiva restores the frog to human form and gives her to the danava as his daughter. Like Ahalya, Tara and Draupadi, Mandodari is also ayonijasambhava, once again, not-of-woman-born."

"When Shurpanakha was claiming herself a befitting female for Rama, and belittling Seetha she uses words like krishodari, shaatodari meaning “a female with feeble womb. So also manda udari “slow womb lady with slow conception...Mandodari gives birth to one Indrajit, son of Ravana, an extraordinary fighter and all conquering warrior. Had Mandodari given birth to one or two more Indrajits, a dozen Ramas had to take incarnation."

"In Rajasthan, the Sri Alvar Tirth of the Jains celebrates the power of Mandodari’s chastity: Ravana, the king of Lanka observed the vow of taking meals only after worshipping God. Once he was going in a plane [sic] to a foreign country. When it was time for lunch, he landed near Alvar to take rest. He remembered the vow of worshipping God but he had forgotten to bring the idol with him. In order to keep the vow, Mandodari made an idol of sand and invested it with life by reciting the mantra of Namaskar. Having worshipped God with devotion, Ravan and Mandodari kept their vow. By virtue of the vow and Mandodari’s chastity, the presiding deity made the idol adamantine. Thus, the idol of Parshvanathji worshipped by Mandodari and Ravan began to be known as ‘Shri Ravan Parshvanath’."

"Mandodari’s importance for Ravana is highlighted in certain recensions which describe Ravana performing a sacrifice after his son Indrajit’s death. Vibhishana advises Rama to prevent him from completing the ritual. When Hanuman fails to disturb Ravana’s meditation, Angada drags Mandodari by her hair to Ravana, tearing off her bodice and girdle so that her skirt slips. Upbraiding her husband for shamelessly countenancing all this, she exclaims that such a husband were better dead and calls on her dead son to protect her honour. That arouses Ravana who attacks Angada to free his wife, leaving the ritual incomplete and sealing his fate."

"The Khmer Ramakerti account has Hanuman snatch away Mandodari’s clothes to break Ravana’s meditation. The Thai Ramakien provides a fascinating parallel with the Ahalya story and the myth of Vishnu assuming Shankhachuda or Jalandhara’s form to seduce his wife Tulsi. According to this telling, Mandodari had learnt the secret of preparing amrita from Uma. Assuming Ravana’s form, Hanuman embraces her. By thus sullying her purity, her sanjivani yajna, performed to make her husband immortal, is rendered fruitless."

"Mandodari accepts Vibhishana, her husband’s enemy and brother, as spouse, either at Rama’s behest or because it was the custom among non-Aryans for a new ruler to wed an enthroned queen."

"In the Mahanataka, when Mandodari asks Rama what her fate will be after the war and the death of her husband, he prohibits her from committing sati and advises her to rule by Vibhishana’s side. The Bengali Krittibas Ramayan, the Oriya Balaramdas Ramayan, the Thai Ramkien and the Mahari dance composition all refer to Mandodari marrying Vibhishana."

"Vernacular versions of the epic have Mandodari curse Sita that she will be abandoned by her husband, complementing Tara’s curse on Rama."

"The Adbhut Ramayana provides more insight. Ravana had stored blood drawn from ascetics in a pot and kept it with Mandodari, telling her that it contained deadly poison. Furious with his violating women during his conquests, she broke his injunction not to drink from the pot. By doing what she felt moved to do, Mandodari shows she is not her husband’s shadow. The consequence is that she becomes pregnant, and, like Satyavati and Kunti later, discards the newborn infant in the field Janaka ploughs to discover the orphan Sita."

"Hanuman in the Sundara Kanda of the Ramayana mistakes Mandodari (“resplendent in bejewelled ornaments, fair, golden complexioned, beautiful, mistress of the royal inner apartments, embellishing the palace with her loveliness”) for Sita in Ravana’s palace."

"Tara and Mandodari are parallels. Both offer sound advice to their husbands who recklessly reject it and suffer the ultimate responsibility for the deaths of their husbands. Thereby, they are able to keep their kingdoms strong and prosperous as allies of Ayodhya, and they are able to continue to have a say in governance. Tara and Mandodari can never be described as shadows of such strong personalities as Vali and Ravana."

"... in the Jain version, of the Uttarapurana of Gunabhadra (850 CE) Sita is the unlucky daughter of Ravana and Mandodari; prophesied to be the cause of her father’s [[death."

"He [Hanuman] briefly mistakes Ravana's chief queen, Mandodari, for Sita, but quickly realizes his error."

"Ahiravana (snake Ravana) is born to Ravana's wife Mandodari, but his serpentine appearance is so terrible that it frightens even his father, who casts him into the ocean."

"Rama is informed by Vibhishana that Ravana received yet another boon: he can only be slain with one special Brahma-arrow that the Grandfather himself gave to him. It is hidden in Queen Mandodari's private apartments, and unless it is obtained, the battle will go on forever. In a trice, Hanuman leaps to Lanka and assumes a form of an aged Brahmin, hobbling on a cane. He presents himself to Mandodari, who is worshipping Parvati together with ten thousand co-wives, praying for Ravana’s well being. She is delighted to see the frail and venerable Brahmin and offers him lavish hospitality, which he willingly accepts. To win her confidence, Hanuman tells her that she is fortunate to possess a treasure that will prevent Rama and his monkeys from harming her husband and warns her never to reveal it to anyone. Mandodari is impressed by his knowledge and eagerly seeks his blessing. The Brahmin then expresses a new concern: “That traitor Vibhishana is sure to reveal the arrow’s hiding place, because he knows where everything is in Lanka. You had better move it”. Mandodari panics and begins to remove the arrow from its hiding place – inside a crystal column – which she thus inadvertently reveals. Hanuman reverts to his true form, grabs the arrow, and leaps back to Rama’s camp, leaving Mandodari in tears. Ravana is doomed."

"To create jealousy between the demon brothers, he [Hanuman] steals Ravana's clothes and puts them on Vibhishana's bed (so the latter will believe that his elder brother has taken liberties with his wife), ties the sleeping Mandodari's hair to a bedpost and steals her jewelry, or ties Ravana’s and Mandodari’s braids together so they will knock heads when they awaken."

"Some Cambodian and Malay versions [of Ramayana] add an interesting variant absent from the Indian retellings: to prepare the medicine, the physician Sushena demands a special rolling pin from Mandodari's kitchen or a small table kept beneath Ravana’s bed. Hanuman enters the place to steal the required object, and while there ties the sleeping Ravana’s and Mandodari’s braids together. He magically charges the knot with a mantra and then writes on the wall that no one can untie until Mandodari strikes Ravana on the forehead with her left hand."

"He [Hanuman] uses his wizardry to actually assume the form of a monkey in order to converse with Sita in her place of captivity, and during subsequent battle, Rama’s allies again take on simian forms to wreak havoc in Lanka, setting it afire with their flaming tails and dragging Queen Mandodari by the hair in order to disturb Ravana's worship."

"Mandodari, wife of Ravana, king of asuras (demons), in her previous birth, had been a celestial damsel (apsara) named Madhura. Madhura went to Kailasa to worship Shiva, having observed a special vow, the Somavara vrata [Monday Ritual]. When Madura reached Kailasa, Parvati, Shiva’s wife was not there. Madura worshipped and praised Shiva. But they were attracted to each other and made love. When Parvati returned to Kailasa, she saw Madhura’s breast smeared with the ash from Shiva’s body. Parvati went into a great fury and cursed Madhura to live as a frog for twelve years. Shiva was grief struck. He consoled Madhura that after twelve yaers she would become a very beautiful woman and would be married to a great king. Madhura became a frog in a well. Maya, an asura, born to Kasyapa and Danu, was married to Hema, but also wanted a daughter. For twelve years they prayed to Shiva for one. One day as Maya and Hema were worshipping Shiva, they heard a cry from a nearby well. They found a beautiful young woman in the well. They adopted her and named her Mandodari."

"Mandodari was married to Ravana – certainly a great enough king. Mandodari was very pious and noble. She tried to dissuade Ravan from tormenting Sita, the wife of Rama, and warned him that his actions could prove to be fatal. Mandodari is also described as one of the ideal woman in Hindu mythology."

"Maya the celestial architect (descendent of Diti, gaints) built palaces for both devas (gods) and asuras (demons). But in some accounts he was the architect for the asuras, while Visvakarman was the builder for the gods (devas). His daughter, Mandodari, married Ravana."

"The five ideal women are role models for all Hindus. They are not perfect but they fulfill their dharma as mothers, sisters, wives, and occasionally leaders in their own right. They are most often listed as Ahalya, Draupadi, Mandodari, Sita and Tara."

"Sabha Parva Hark to the rushing and clangour, the snorting, and galloping rattle — 'Tis Ravan the ten-headed Titan to Lanka come home from the battle With Rama the Prince of Ayodhya, and Laxman matchless archer, And Hanumanta the chief of the monkeys, that most astonishing marcher. Down from his chariot of polished steel the Titan monarch descended, And straight to his lofty sleeping chamber overlooking Lanka ascended; There having doffed his coat of mail, and hung up his tenfold crown, And quaffed a dozen mashaks of wine, the Ten-headed laid him down. And he called his magnanimous wife, the Titaness Mandodari, And he told her beside him to take her seat upon a bearskin godari And shampoo his limbs while he went to sleep, for he felt fatigued and weary... And at last he started up and woke, with a wild tremendous scream!"

"Mandodari asked in alarm, What aileth thee so, my lord ? What fearful dream or vision thy refreshing sleep hath marred ?"

"Hearken, ye bearded sages, ye Rishis emaciated, Ye Yogis with matted hair, and arms stretched upwards and elongated, Ye venerable warriors, and Akali heroes elated, Ye sleek-headed men of worldly wisdom, with proportions round and fair, Whom out of your beds I have dragged reluctant, into the cold night air; This night when weary from battle I came, and laid me down to sleep, I dreamt a dream that troubles my mind, for I heard Mandodari weep, And other voices of lamentation, that of evilomen seem; Interpret me, I command you, sages, the significance of my dream."

"Chorus of Rishis Ten-headed Ravan! beware, beware, How even in a dream thou ventures! there; 'Tis the land mysterious of those that mourn: On the wings of the wind thou thither may'st go, But woe for Mandodari! O woe ! Canst thou, wilt thou safe return ? Ah no!"

"Ravan In that land of the silent and desolate I wandered not all alone, For beside me there moved a beautiful one, whom I loved and called my own; And yet altho' she appeared as one I had known from eternity, It was not this my magnanimous queen the dusky Mandodari: She seemed as tho' she were one with whom, in some long anterior birth, Hundreds of thousands of years before, I had been the companion on earth."

"The well-known Sanskrit hymn that defines the Panchakanyas (five iconic heroines of Hindu epics) runs:"

"Sanskrit transliteration IAST: ahalyā draupadī sītā tārā mandodarī tathā । pañcakanyāḥ smarennityaṃ mahāpātakanāśinī॥"

"English translation: Ahalya, Draupadi, Sita, Tara and Mandodari One should forever remember the Panchakanya who are the destroyers of great sins."

"Mahari dance tradition in which the Oriya verse goes: Pancha bhuta khiti op tejo maruta Byomo Pancha sati nirjyasa gyani bodho Gomyo Ahalya Draupadi Kunti Tara Mandodari totha Pancha kanya..."

"Five elements, earth, water, fire, wind, [[ether are in essence the five satis. This the wise know as Ahalya, Draupadi, Kunti, Tara and Mandodari Five virgins...Ahalya personifies water, Draupadi represents fire, Kunti symbolises mother earth, Tara personifies wind and Mandodari ether. Draupadi’s personality personifies fire, while Sita (whom she incongruously includes in the group instead of Kunti) is the daughter of the earth."

"Valin assured Tara that he would only overthrow Sugriva and not hurt him in any other way. In course of the fight, Valin was mortally wounded by Rama - unjustly though - and, finding his death imminent, made peace with Sugriva. Along with other last minute instructions on how to administer the kingdom, Valin explained to Sugriva that since Tara’s judgment was always sound, he should follow her advice."

"The profiles of eleven women who have been clearly referred to as ideals or given enough importance are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. Evidently, all of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may be recommended for daily prayers but none of them is regarded as an ideal woman, at least not recommended by anyone for emulation by others. The only exception is Draupadi who was praised by Gandhi for her wisdom and courage."

"In spite of several plus points to their credit – like the wisdom, courage, and sagacity of Draupadi, Tara and Damayanti, the keen and lively interest they evinced in their surroundings and also the part played by the former two in the management of their respective realms, the strong sense of duty, love and loyalty to their respective husbands as shown by Kunti, Mandodari and Shakuntala, the carving for knowledge as expressed by Maitreyi – none of them is a model for Hindu women."

"Contrarily, epic characters like Draupadi and Tara, whose devotion to their husbands and affinal families was duly noted, participated in activities outside the confines of their homes. On this additional merit, therefore, they should have superseded Sita, Savithri or Parvati as ideal women."

"Ahalya “for her forbearance is likened to the freshness and active nature of the wind Tara (all the three women of that name, that is, Harishchandra’s queen, Vali’s wife and Brihaspati’s wife who is Chandra’s beloved) is associated “with space and has the quality of intelligence, compassion and large-heartedness; Mandodari with the element of water, turbulent on the surface yet deep and silent in her spiritual quest."

"Thus by the mighty Sire addressed They all obeyed his high behest, And thus begot in countless swarms Brave sons disguised in sylvan forms. Each God, each sage became a sire, Each minstrel of the heavenly quire, Each faun, of children strong and good Whose feet should roam the hill and wood. Snakes, bards, and spirits, serpents bold Had sons too numerous to be told. Báli, the woodland hosts who led, High as Mahendra's lofty head, Was Indra's child. That noblest fire, The Sun, was great Sugríva's sire, Tára, the mighty monkey, he Was offspring of Vrihaspati: Tára the matchless chieftain, boast For wisdom of the Vánar host. Of Gandhamádan brave and bold The father was the Lord of Gold."

"And the worthy daughters of those far-famed ladies [Ahalyâ, Târâ, Mandodari, Kunti, and [Draupadi] of the Paurânika age, whose names we are to repeat every morning—they can no longer marry more than one husband at a time, even if they want to, and so they turn unchaste."

"...refers to some real event amongst the aboriginal tribes; namely, the quarrel between an elder and younger brother for the possession of a Raj; and the subsequent alliance of Rama with the younger brother. It is somewhat remarkable that Rama appears to have formed an alliance with the wrong party, for the right of Vali was evidently superior to that of Sugriva; and is especially worthy of note that Rama compassed the death of Vali by an act contrary to all the laws of fair fighting. Again, Rama seems to have tacitly sanctioned the transfer of Tara from Bali to Sugriva, which was directly opposed to modern rule, although in conformity with the rude customs of a barbarous age; and it is remarkable that to this day the marriage of both widows and divorced women is practiced by the Marwars or the aborigines of southern Caranatic, contrary to the deep-rooted prejudice which exists against such unions amongst the Hindus at large."

"The five ideal women are role models for all Hindus. They are not perfect but they fulfill their dharma as mothers, sisters, wives, and occasionally leaders in their own right. They are most often listed as Ahalya, Draupadi, Mandodari, Sita and Tara."

"Then BaIi's soul with rage was fired, Queen Tara and the dames retired; And slowly, with a laugh of pride, The king of Vénars thus replied 'Me, fiend, thou deemest drunk with wine: Unless thy fear the fight decline, Come, meet me in the fray, and test The spirit of my valiant breast"

"Nala and Nila came behind With Hanuman of lofty mind, And valiant Tara, last in place, A leader of the Vénar race. They gazed on many a tree that showed The glory of its pendent load, And brook and limpid rill that made Sweet murmurs as they seaward strayed."

"They praise thy valour, patience, ruth, Thy firmness, self-restraint, and truth: Thy hand prepared for sin's control, All virtues of a princely soul. I thought of all these gifts of thine, And glories of an ancient line, I set my Tara's tears at naught, I met Sugriva and we fought."

"I thought of all these gifts of thine, And glories of an ancient line, I set my Tara's tears at naught, I met Sugriva and we fought. O Rama, till this fatal morn I held that thou wouldst surely scorn To strike me as I fought my foe And thought not of a stranger’s blow."

"In vain my Tara reasoned well, On dull deaf ears her counsel fell. I scorned her words though sooth and sweet, And hither rushed my fate to meet. Ah for the land thou rulest! she Finds no protection, lord, from thee, Neglected like some' noble dame By a vile husband dead to shame."

"Though stayed by Tara's fond recall, By thy dear hand I longed to fall. Against my brother rushed and fought, And gained the death I long have sought. Then Ruma thus the prince console'd From whose clear eyes the mists were rolled."

"Again the hapless Tara wept As to her husband's side she crept, And wild with sorrow and dismay Sat on the ground where Bali lay."

"And hapless Tara sank below The whelming waters of her woe, Looked upon Bali's face and fell Beside him whom she loved so well, Like a young creeper clinging round - A tall tree prostrate on the ground."

"Lover of wail beloved by me, Why hast thou fled away and left Thy Tara of all hope bereft? Unwise the father who allows His child to be a warrior's spouse, For, hero, see thy consort's fate, A widow now most desolate. For ever broken is my pride"

"Prepare with Tara and her son That Bali's rites be duly done. A store of funeral wood provide Which wind and sun and time have dried, And richest sandal fit to grace The pyre of one of royal race. With words of comfort soft and kind Console poor Angad’s troubled mind, Nor let thy heart be thus cast down, For thine is now Vanara’s town."

"When Tara' heard the words he said Within the town he quickly sped, And brought, on stalwart shoulders laid, The litter for the rites arrayed, Framed like a car for Gods, complete With painted sides and royal seat, With latticed windows deftly made."

"About thee stands in mournful mood; A sore-afflicted multitude, And Tara and thy lords of state Around their monarch weep and wait. Arise my lord, with gentle speech, As was thy wont, dismissing each, Then in the forest will, we play. And love shall make our spirits gay, The Vanar dames raised Tara, drowned In floods of sorrow, from the ground;"

"With royal Ruma by his side, Or Tara yet a dearer bride, He spent each joyous day and night In revelry and wild delight, Like Indra whom the nymphs entice To taste the joys of Paradise."

"The king, untroubled by alarms, Held Tara in his amorous arms, And in the distant bower with her Heard not each clamorous messenger. Then, summoned at the lords' behest, Forth from the city portals pressed, Each like some elephant or cloud, The vanaras in a trembling crowd: Fierce warriors all with massive jaws... With eyes of furry Lakshman viewed."

"Son of Queen Tara, Angad ran To parley with the godlike man. Still fiery-eyed with rage and hate Stands Lakshman at the city gate, And trembling Vénars scarce can fly Scathed by the lightning of his eye. Go with thy son, thy kith and kin, The favour of prince to win And bow they revered head that so His fiery wrath may cease to glow."

"A faithful friend untouched by blame. May look upon another's dame. He passed within, by Tara pressed, And by his own impatient breast. Refulgent there in sun like sheen Sugriva on his throne was seen."

"He ceased: and Tara starry-eyed Thus to the angry prince replied : Not to my lord shouldst thou address A speech so fraught with bitterness: Not thus reproached my lord should be, And least of all, O Prince, by thee. He is no thankless coward – no- With spirit dead to valours glow."

"She ceased: And Laksmana gave assent, Won by her gentle argument So Tara's pleading, just and mild, His softening heart had reconciled. His altered mood Sugriva saw, And cast aside the fear and awe, Like raiment heavy with the rain, Which on his troubled soul had lain. Then quickly to the ground he threw His flowery garland bright of hue."

"Sugriva’s heart swelled high with pride As to the prince he thus replied:’Come we speed forth without delay': ’Tis mine thy mandate to obey’ Sugriva bade the dames adieu, And Tara and the rest withdrew. Then at their chieftain's summons came The Vénars first in rank and fame, A trusty brave and reverent band, Meet e'en before a queen to stand."

"Far southward, as his lord decreed, Wise Hanumén, the Wind-God's seed, With Angad his swift way pursued, And Tara's warlike multitude. Strong Vinata with all his band Betook him to the eastern land, And brave Sushen in eager quest Sped swiftly to the gloomy west."

"But Hanumén, while Tara, best Of splendid chiefs, his thought expressed, Perceived that Bali's princely son A kingdom for himself had won. His keen eye marked in him combined The warrior's arm, the ruler’s mind And every noble gift should grace."

"Go, you bow at Sugreeva’s feet, And in my name the Monarch greet. Before the sons of Raghu bend, And give the greeting that I send Greet kindly Ruma too, for she A son's affection claims from me, And gently calm with friendly care My mother Tara's wild despair; Or when she hears her darling's fate The queen will die disconsolate.' Thus Angad bade the chiefs adieu."

"Then Ruma his devoted wife For her dead lord will leave her life, And Tara, widowed and forlorn, Will die in anguish, sorrow-worn. On Angad too the blow will fall Killing the hope and joy of all. The ruin of their prince and king The V6nars' souls with woe will ring."

"Rama himself makes no effort at conciliation and hears no testimony from Vali. He simply passes judgment and assassinates him for taking Sugriva's wife even though Sugrlva had taken his wife Tara after blocking the mouth of the cave and assuming the throne in Kiskindha."

"Sanskrit transliteration IAST: sugrivah prapya kiskindharh nanadaughanibhasvanah; nasya tanmamrse vaii tam tara pratyasedhayat. sugrivah prapya kiskindham nanada."

"Purport in English: When we reached Kishkinda, Sugriva roared with a sound like a flood. Valin did not tolerate it from him. Tara checked him."

"Sanskrit transliteration IAST: cintayitva muhurtarh tu tara taradhipaprabha; patimityabravltprajna srnu sarvam kapisvara."

"Purport in English: Look, you [Tara] knowing the speech of all beings, endowed with intelligence! With whom as support this pseudo-brother of mine arrived?"

"Sanskrit transliteration IAST: garhayitva sa kakutstharh papata bhuvi murchitah; tara dadarsa tam bhumau tarapatimiva cyutam."

"Purport in English: He [Vali] censured the descendant of Kukustha (Rama) and fell on the ground unconscious. Tara saw him fallen on the ground like the lord of the stars."

"When Valin had been slain, Sugriva returned to Kiskindha and to her whose lord had fallen, Tara, whose face was like the lord of the stars."

"Of the five kanyas, none quite measure up to the standard of monogamous chastity, commended so overwhelmingly in our culture. Each has had either an extra-marital relationship or more than one husband. Of this group three – Ahalya, Tara, and Mandodari – belong to the Ramayana, the epic composed by Valmiki, the first seer-poet."

"In the Mahabharata she is called sarvabhutarutajna, able to understand the language of all creatures. In the Kishkindha Kanda of the Ramayana, we see her warning Vali against Sugriva when he comes to challenge Vali for the second time."

"Appearances are deceptive, she [Tara] points out; normally no contestant returns to the field so soon after having been soundly thrashed. Moreover, she says, she has heard that Rama, prince of Ayodhya, has befriended him. She urges Vali to anoint Sugriva as the crown prince and live in peace with him. Vali, in the Mahabharata account, suspects that Tara might be favouring Sugriva and therefore rejects her advice."

"By brushing aside her wise warning, he walks into Rama’s arrow, as he himself admits while he lies dying. He pays a fine tribute to his wife, imploring Ram to ensure that tapasvinim Tara is not insulted by Sugriva and advising Sugriva to follow Tara’s advice unquestioningly. She is skilled, he says, in assessing a situation and deciding what action should be taken; she never judges the merit of anything wrongly."

"After Vali’s fall, Tara not only rallies the fleeing subjects, but also shows great political sagacity. When Hanuman asks her to stop grieving and place her son Angada on the throne, she refuses, since, with his uncle Sugriva alive, this would be inadvisable. Then she rushes to Rama and, in an extremely forceful speech, demands that he kill her too. The strength of her personality in facing up to the prince of Ayodhya is strikingly portrayed. In Krittibas’ Bengali Ramayana, Tara curses Rama to be slain by Vali in a future birth. This is confirmed in the Mahanataka and the Ananda Ramayana where the hunter who causes Krishna’s death is Vali reborn. In several vernacular versions of the epic, Tara also curses Rama that he will not be able to enjoy the company of Sita for long. Tara’s upbraiding elicits Rama’s assurance that Sugriva will protect both her and her son’s rights. To ensure that her son Angada is not deprived of his father’s throne, she becomes her brother-in-law Sugriva’s consort."

"When Lakshmana storms into the inner apartments of Kishkindha, to upbraid Sugriva who has reneged on his promise to track down Sita, it is Tara who is sent by the terrified Sugriva to tackle this rage-incarnate. Approaching Lakshmana with intoxicated, half-closed eyes and unsteady gait, lovely, slim, unashamed, Tara effectively disarms him. She gently reprimands him for being unaware of lust’s overwhelming power that overthrows the most ascetic of sages, whereas Sugriva is a mere vanara (a forest dweller). When he abuses Sugriva, Tara fearlessly intervenes, pointing out that the rebuke is unjustified and details all the efforts already made to gather an army. Once again, as when tendering advice to Vali, Tara displays her superb ability to marshal information and to intervene in a crisis. Thus, she acts as Sugriva’s shield while ensuring that her son Angada becomes the crown prince. In the Mahabharata there is an interesting statement in the Vana Parva that Vali and Sugriva fought over a woman. Surely that woman was the remarkable Tara for, the Ramayana tells us, when attendants report Lakshmana’s arrival, Sugriva is so engrossed in Tara (and not his original wife Ruma) that he remains oblivious to the news."

"In the Balinese dance Kebyar, Rama helps Sugriva get his lover, Dewi Tara, back from his brother, SuVali. In both the Nrisimha Purana and the Mahanataka, Tara is actually Sugriva’s wife whom Vali forcibly took away."

"The Telegu Ranganatha Ramayana has an even more interesting account of Tara’s origins that aligns her more closely with Ahalya, by also depicting her as not born of woman. In this account, Tara is said to have emerged along with the other apsaras during the churning of the ocean for amrita, the nectar of immortality. Tara was then gifted to Vali and Sugriva for the help they had given the gods. Subsequently, Sugriva married Sushena’s daughter Ruma."

"The earliest bearer of the name Tara is the wife of Brihaspati who runs away with his disciple Chandra, causing the Tarakamaya war between the devas and their stepbrothers, the asuras. The name Tara, therefore, carries an aura of internecine strife. Tara, like Helen with Paris, let herself be ruled by her preferences, ignoring social conventions in choosing to leave her ascetic husband for the young and irresistibly handsome Chandra. Even after the war, when the devas and the asuras fight again over possession of her son, it is she who has the last word. As this second war is inconclusive, Brahma himself requests Tara to declare who is the father of her son. Once again, Tara chooses to announce the truth instead of hiding behind the safety of conventions and declares that Chandra, not Brihaspati, is the father. That is how she becomes the ancestress of the Lunar dynasty, the Chandra Vamsa, whose fortunes are the stuff of Vyasa’s epic."

"Tara is the name of the second of the Ten Mahavidyas (the ten Transcendental Wisdoms). Erich Neumann, while discussing the highest form of the feminine archetype, the Goddess of Spiritual Transformation, views Tara as the highest evolution of this universal aspect of consciousness. Her name signifies both ‘star’ and ‘the pupil of the eye’, conveying the idea of a focal point, which suggests that Tara is in some manner a very concentrated essence. We can also interpret her name as coming from the causative form of the verb t.’r, meaning ‘to cross’, ‘to traverse’ or ‘to escape’. Like Draupadi, as we shall see later, Tara is ‘she who ferries across’, ‘she who saves’. Indeed, by her intrepidactions Tara, the wife of Vali, saves the kingdom and her son from ruin."

"Tara and Mandodari are parallels. Both offer sound advice to their husbands who recklessly reject it and suffer the ultimately responsible for the deaths of their husbands. Thereby, they are able to keep their kingdoms strong and prosperous as allies of Ayodhya, and they are able to continue to have a say in governance. Tara and Mandodari can never be described as shadows of such strong personalities as Vali and Ravana."

"Gandhi, father of the nation, asked Indian women to follow the examples of pure and pious Sita, Savitri and Parvati and appreciated the firmness of the character of Draupadi and Damayanti."

"Damayanti was a princess who fell in love with the king Nala after hearing about his fame and virtues. She succeeded in her resolve to marry him, by correctly identifying him in the svayamvara although four gods had assumed Nala's appearance in order to marry Damayanti."

"They [nine women in Hindu mythology] are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. All of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may well be remembered in daily prayers but none of them is regarded as an ideal woman, at least not recommended by anyone for emulation by others."

"Prince Nala brave, handsome, and endowed with all the good qualities that a prince ought to have could manage horses with such skill, that for no one else in all the world would they go so swiftly."

"He was like the Sun-god in his splendor. He was handsome, he honored the gods and ever spoke the truth. Fond of study, he knew all the songs and hymns of the Vedas. He was king of the Nishadhans."

"Among the neighboring tribes of the Vidarbhans, there was, likewise, a very brave and noble king, called Bhima, who had everything he desired except children. One day a 'Brahman Seer,' or wandering Hindu priest, named Damana, came to Bhima and asked for food and drink. Bhima and his queen, in true Oriental style, treated Damana with the greatest kindness and courtesy."

"Damana felt very kindly disposed; and, when he went away, promised them a 'jewel of* a girl' and three noble sons. And so it happened that Dama, Danta, and Damana, and Damayanti, the jewel of a daughter, came to gladden the house of King Bhima and his queen"

"Damayanti was famous among her father's people for her radiant beauty and her charm of manner; and when she was grown up into a beautiful young woman, she had a hundred slaves with splendid ornaments to wait upon her and a hundred friends to sit around and help her while away the time. The Hindus said she was as beautiful and perfect as the cloud-born lightning. She had those peculiar charms, which they considered so desirable, a slender waist and long eyes. 'There was none,' they said, 'among gods or Yakshas or men, so beautiful.' Even the gods had heard of her beauty, and were exceedingly desirous of seeing her and of standing well in her favor."

"Damayanti had heard of Nala,- how he was called 'the man-tiger;' how he was without equal in beauty among the people of the earth; and how he seemed the god of love himself in bodily form. Nala, in turn, in his kingdom, heard of nothing but Damayanti's beauty and graciousness."

"Nala, not being able any longer to restrain his desire to be near so beautiful and amiable a princess, went secretly into a forest near Bhima's palace, and dwelt there. While he was wandering about one day, he came upon a flock of swans with most beautiful golden plumage."

"As he caught hold of one, and thought, "What a fine dish of meat for my table to-day!" the swan, assuming a human voice, said: "You most not kill me, O King, for I will do you a favor. I will speak of you to Damayanti, so that she will never at any time love anybody but you." Nala at once let the swan go; and she with her companions flew up and off to the city of the Vidarbhans…"

"Damayanti, at that time, was walking with her hundred friends in a pleasure-grove near the palace. When the maidens saw these golden-feathered birds flying into the grove, they ran towards them with cries of delight, each maiden selecting one for pursuit. The swan that Damayanti approached, assuming a human voice, said:"

"O Damayanti, there is a prince among the Nishadhans, whose name is Nala. He is as beautiful as the Asvins....You are the jewel of women; Nala is the most excellent of men. If you were to marry each other, your union would be the most distinguished in all the earth."

"Say this also to Nala, O Golden-plumaged One. The bird… flying hack told everything to Nala. After that, Damayanti could think of nothing but Nala."

"Finally, her friends went with the matter to King Bhima. They announced that his daughter was ill. They had not heard what the swan had said to Damayanti, neither had the father. But he was a wise man, and began to consider that she was now old enough to marry, and that she was very, very beautiful, and must have a husband befitting her rank. So he decided to celebrate her Svayamwara' according to the custom of the early Hindus. At this Swayamvara, she was expected to choose for a husband from the kings and princes the one whom she liked best."

"Accordingly, Bhima sent out invitations to all the kings and princes of the surrounding tribes."

"About this time, two demi-gods Narada and Parvata while returning from their wanderings on the earth...had heard of the Swayamvara. Now, as well-honored guests, they entered the dwelling of Indra;...Indra inquired concerning the inhabitants of the earth in words befitting the ruler of the gods."

"Narada, addressed Meghavan,...and said about the beautiful Damayanti and her Swayamvara. Agni and the other chiefs of the gods entered, and were so greatly delighted with the story that they all said: "We will go also.""

"King Nala, also, having heard of the Swayamvara, was going with undaunted spirit to prove his devotion to Damayanti. When the gods saw Nala advancing along the road on the earth below them, and looking as beautiful as the God of Love and as radiant as the sun, they were so astonished that they stopped their chariots in mid-air. They even meditated a return to their own world, when they saw in Nala so powerful a rival. Soon, however, they thought out a better plan, and descended immediately from the 'sky-surface' to meet Nala. Ho, Sir! Greatest of Princes, always truthful," they said, "do as a favor. Be our messenger.""

"And Nala, of courteous disposition, promised to do whatever they might desire. Then making a reverent gesture, he asked: "Who are ye, Noble Beings, who wish me to be your messenger? and tell me what 1 shall do?" Indra replied: "Know us to be the immortal gods, taking this journey for the sake of Damayanti. I am Indra; this one is Agni, the God of Fire; that one is Varuna, Lord of the Waters; and that one there is Yama, King of Death and the Under-world. Announce to Damayanti, will you? that we are coming — that we the Protectors of the World, the gods, Indra and the rest, have a great desire...to win yon. Choose, therefore, some one of those gods for your husband.""

"Do not send me, since 1 am going for the same purpose myself. How, indeed, can a man who feels love for a woman speak of such a thing to her for others. Excuse and forgive me, Mighty Princes."

"But the gods insisted: "Do this, Nala. Give us your promise. Why will you not aid us. Go on immediately, Prince of the Nishadhans"."

"But how can I enter her well guarded apartment?"

"You shall be able."

"Without further objection, Nala promised, and passed on to the dwelling of Damayanti. There he saw the daughter of Bhima surrounded by her friends,…As soon as the beautiful maidens saw Nala sprang up...astonished, but not displeased at his presence."

"Who art thou, O thou of entirely faultless body, inspiring love in my heart. Thou art a god? 1 wish to know thee, and how thou earnest here and was not noticed. Truly, thou must be a king of wonderful power, because my chamber is well guarded."

"1 am known as Nala, Beautiful One, and have come here as a messenger of the gods. Indra, Agni, Varuna, and Yama desire to win you. Choose one of these, therefore, to be your lord in wedlock. For this. Good Lady, I am sent; and it was by their divine aid that I entered unnoticed and unhindered. You have heard all, Fair One. Decide as you wish."

"Show me according to thy will, O Prince, what I may do for thee, since I and whatever goods I possess are thine. Show thy affection without hesitation. The words of the swan yet burn within my heart; and, truly, for the sake of thee alone has this assembly of princes been called. If thou, O my Honor-giver, shalt reject me, loving thee as I do, then I will resort to poison, fire, water, or the rope."

"When you may marry a god, how can you desire a human being. Let your mind be turned toward those World-creating, Noble Princes, to the dust of whose feet I am not equal. And, indeed, if you waver in your decision, you will bring me to a disgraceful death. Rescue me from that, O Faultless One...But I, with all reverence towards the gods, choose thee, O king, for my husband — I do indeed."

"But since 1 have come as a messenger, Fair One, how can I have anything to say about myself Indeed, since I have given the gods my solemn promise, and have undertaken this matter for the sake of others, how can I, at this time, tell you about my own love? If at another time my opportunity shall come, then I will speak in my own behalf. So let it be now. Good Lady."

"I see a way, O Prince, by which you will be safe and not at all at fault. O Best of Men, go back to the gods, and come with them to my Swayamvara."

"Thus Nala returned to the place where the gods were assembled. When the Protectors of the World saw him entering their midst, they desired to hear what had happened just as it was. "O king," they said, "did you see the brightly-smiling Dayamanti? and what answer did she return to us. Tell us truly.""

"With the magic power you gave me, I found the dwelling-place of Damayanti, and entered its large, well-guarded halls, unseen by all until I reached the apartment of her grace, the king's daughter. She and her friends saw me, and were greatly astonished; and, while you were being described by me, O Best of the Gods, she, the fair-faced woman, beside herself for the moment, chose me."

"Let the gods come with you, O Noble Man, to my Swayamvara. In their presence, I will choose you, Nala; and it will not be your fault."

"At the auspicious time of the holy lunar day, King Bhima sent summons to the kings and princes to assemble for the Swayamvara. These, urged on by the eagerness of their love for Damayanti, were not slow in obeying."

"After they were seated, Damayanti, the fair-faced, entered the theater, stealing the eyes and the thoughts of the kings with her beauty. Then the names of the kings were announced, and Damayanti saw five men, all looking exactly alike. Nala was one of these; but which one, she could not distinguish. Each one she looked at seemed to be King Nala. In great distress, this beautiful girl tried to recall the signs that are said to distinguish gods from men, but all the signs she had ever heard of as marking the gods did not appear to belong to these."

"Finally, she saw that she must appeal to the gods themselves for aid. So, giving them adoration, both with her voice and with her mind, she knelt reverently before them, and tremblingly spoke:"

"As surely as Nala was chosen by in for a husband, when 1 heard the word of the swan, so surely, may the gods point him out to me. As surely as I am not unfaithful in word or thought, in virtue of that, let the gods show him to me. As surely as the ruler of the Nishadhans has been ordained by the gods to be my husband, so surely, may the gods point him out to me. As surely as I have desired this Swayamvara to be appointed for the winning of Nala alone, so surely, may the gods let me know him. And may the Protectors of the World, the mighty Lords, take their own forms, in order that I may be able to recognize my Nala, the ruler of men"

"Hearing the piteous words of Damayanti uttered in this way, the gods assumed their own characteristics. She now saw them all without sweat, with unwinking eyes, with unwithered and tasteless garlands; and they stood upon air without touching the ground. She recognized Nala as the only one of these, who cast a shadow, had winking eyes, withered garlands, was covered with sweat, and stood on the ground."

"Then the daughter of Bhima, knowing Nala from the gods, chose him, as was right. And she, with her long eyes, being ashamed to speak before so large a company, caught hold of the border of Nala's mantle, and threw a beautiful wreath upon bis shoulders. Thus she chose him to be her husband."

"Since thou, at this time, O Fair One, choosest me in preference to a god, know me as thy husband taking pleasure in thy command; and as long as life shall endure in my body, sweetly smiling one, so long will I be devoted to thee — I give you my promise."

"...after Nala had been chosen by Damayanti, the gods felt no offense; and being well disposed, promised Nala eight gifts. Indra gave Nala the power to see him bodily in sacrifice, and endowed him with the gait of a god when he walked. Agni, the Fire-God, gave him the power to have fire whenever he wished it, and promised him abodes in heaven as bright as his own light. Yama gave him wonderful skill in cookery, and an excellent devotion to right. Varuna, the Lord of Waters, gave him the power to have water whenever he should desire it. And all the gods together promised him two children."

"After these most excellent guests had gone, Bhima, the magnanimous, rejoicing, made the wedding for Damayanti and Nala."

"The marriage ceremony having taken place, Nala remained for a time at Bhima's court, passing the days most pleasantly. Finally, having been dismissed by Bhima (which is according to the Hindu notion of courtesy), he went to his own city. There the hero-king, happy and radiant as the sun, remained for a long time protecting his subjects in justice. He also worshiped the gods with horse-sacrifice, and with many other good deeds and acceptable gifts."

"Nala and Damayanti were always wandering about like gods. A son and a beautiful daughter were given to them, as the gods had promised; and thus, the ruler of men, sacrificing and wandering about, protected the earth filled with treasure."

"Damayanti is the wife of Nala and heroine of the tale of Nala and Damayanti. She is also known by her patronymic Bhaimi."

"They married and for some time in great happiness, a son and daughter, Indra Sena and Indra-Sena, being born to them. Kali, a personification of Kali or the Iron age arrived too late for the Swayamvara. He resolved to be revenged and he employed his peculiar powers to ruin Nala through his love of gambling."

"At his instance Pushkara, Nala’s younger brother, proposed a game of dice. Kali charmed the dice, and Nala went on losing; but he was infatuated; the entreaties of friends and minsters, wife [Damayanti] and children were of no avail; he went on till he had lost his all, even to his clothes."

"His rival became king and proclaimed that no one was to give food or shelter to Nala, so the ruined monarch wandered forth in the forest with his wife (Damayanti) and suffered great privations."

"Some birds flew with his only garment. He resolved to abandon his wife in the hope that she would return to her father’s court, so he divided her sole remaining garment while she slept and left her."

"Thus left alone, Damayanti wandered about in great distress. She did not go home, but she at length found service and protection with the princess of Chedi. Nala fell in with the king of serpents, who was under a curse from which Nala was to deliver him. The serpent bit Nala, and told him that the poison should work upon him till the evil spirit has gone out of him, and that he should be restored to all he loved. Through the effects of the bite he was transformed into a misshapen dwarf. In this form he entered the service of Rituparna, king of Ayodhya, as trainer of horses and an accomplished cook, under the name of Bahuka."

"Damayanti was discovered and conducted to her father’s home, where she found her children. Great search was made for Nala, but in vain, for one knew him in his altered form. One Brahmin, however, suspected him, and informed Damayanti. She resolved to test his feelings by announcing her intention of holding a second swayamvara. King Rituparna determined to attend, and took Nala with him as driver of his chariot. Rituparna was skilled in numbers and the rules of chances. On their journey he gave a wonderful proof of this, and he instructed Nala in the science. When Nala had acquired this knowledge the evil spirit went out of him, but still he retained his deformity."

"Damayanti half penetrated his disguise, and was at length convinced that he was her husband by the flavor of a dish which he had cooked. They met, and, after some loving reproaches and the interference of the gods, they became reconciled, and Nala resumed his form. He again played with Pushkara and staked his wife against the kingdom. Profiting from the knowledge he had obtained from Rituparna, he won back all and again became king."

"One of the oldest and most beautiful stories inserted in the Mahābhārata is the Nalopākhyāna, or "Episode of Nala." It is one of the least corrupted of the episodes, its great popularity having prevented the transforming hand of an editor from introducing Siva and Vishṇu, or from effacing the simplicity of the manners it depicts—the prince, for instance, cooks his own food—or from changing the character of Indra, and other old traits. The poem is pervaded by a high tone of morality, manifested above all in the heroic devotion and fidelity of Damayantī, its leading character. It also contains many passages distinguished by tender pathos."

"Nala, prince of Nishada, chosen from among many competitors for her hand by Damayantī, princess of w:Vidarbha Kingdom|Vidarbha, passes several years of happy married [[life with her. Then, possessed by the demon Kali, and indulging in gambling, he loses his kingdom and all his possessions. Wandering half naked in the forest with Damayantī, he abandons her in his frenzy. Very pathetic is the scene describing how he repeatedly returns to the spot where his wife lies asleep on the ground before he finally deserts her. Equally touching are the accounts of her terror on awaking to find herself alone in the forest, and of her lamentations as she roams in search of her husband, and calls out to him:"

"Hero, valiant, knowing duty, To honour faithful, lord of earth, If thou art within this forest, Then show thee in thy proper form. Shall I hear the voice of Nala, Sweet as the draught of Amṛita, With its deep and gentle accent, Like rumble of the thunder-cloud, Saying "Daughter of Vidarbha!" To me with clear and blessed sound, Rich, like Vedas murmured flowing, At once destroying all my grief?"

"There are graphic descriptions of the beauties and terrors of the tropical forest in which Damayantī wanders. At last she finds her way back to her father's court at Kuṇḍina. Many and striking are the similes with which the poet dwells on the grief and wasted form of the princess in her separation from her husband. She is: Like the young moon's slender crescent Obscured by black clouds in the sky; Like the lotus-flower uprooted, All parched and withered by the sun; Like the pallid night, when Rāhu Has swallowed up the darkened moon."

"Nala, meanwhile, transformed into a dwarf, has become charioteer to the king of Oudh. Damayantī at last hears news leading her to suspect her husband's whereabouts. She accordingly holds out hopes of her hand to the king of Oudh, on condition of his driving the distance of 500 miles to Kuṇḍina in a single day. Nala, acting as his charioteer, accomplishes the feat, and is rewarded by the king with the secret of the highest skill in dicing. Recognized by his wife in spite of his disguise, he regains his true form. He plays again, and wins back his lost kingdom. Thus after years of adventure, sorrow, and humiliation he is at last reunited with Damayantī, with whom he spends the rest of his days in happiness."

"Though his reflection was clearly visible on the jeweled floor none noticed it among the portraits of him that had been painted by Damayanti's friends to divert her. Then Damayanti came upon him, but he could not distinguish her among the false Damayantis he saw, and she couldn't see him because he was invisible. She threw a garland at the neck of an illusory Nala [whom she imagined], but it fell on the neck of Nala, who was standing there. Nala was astonished to find the real garland from the woman he was imagining and she was surprised to see it disappear. They were in the same place, thinking that they were in different places."

"Than Nala made himself visible and told he was the messenger of the gods - though he did not say that he was Nala. When she asked him to stay, Nala revealed that he was Nala. And Damayanti who had blamed herself for her attraction to the messenger of the gods, was relived to find that it was in fact Nala."

"Nal [had] met the daughter of the great Naga serpent Vasuki. She wished to marry him, but he regarded her as his daughter because of his close friendship with her father, and he told her that he could marry her only if she would be reborn again as a human. She was reborn as a human princess named Damayanti, and when she was of age her father sent an invitation to Indra to come to her self-choice, but the swan carrying the invitation fell into Nal's hands instead. The king sent a second message to Indra, and both Indra and Nal arrived to claim Damayanti. Because Nal was human, Damayanthi was able to identify him despite Indra’s tricks."

"Nala and Damayanti married and she gave birth to twins, a boy and a girl. But the demon of gambling and bad luck (Kali) entered Nala when he neglected to wash his feet; he gambled away his kingdom, and he and Damayanti were forced to go to the forest. When birds, incarnations of the dice, stole the clothes he had been wearing, Damayanti wrapped him in the other half of the single cloth that she was wearing. One night, in despair, he cut the piece of cloth in half as she slept, leaving her with one half, and he abandoned her there."

"There is an ancient exhortation naming five maidens as pratah-smaraniya, urging that they be invoked daily at dawn:"

"Sanskrit transliteration IAST: Ahalya Draupadi Kunti Tara Mandodari tatha Panchakanya smaranityam mahapataka nashaka"

"English translation: Ahalya, Draupadi, Kunti, Tara and Mandodari: constantly remembering these virgin five destroys greatfailings."

"Ahalya and Draupadi – are ayonijasambhava, “not-of-woman-born”. Of the five kanyas, none quite measure up to the standard of monogamous chastity, commended so overwhelmingly in our culture. Each has had either an extra-marital relationship or more than one husband. Draupadi and Kunti are celebrated in Vyasa’s Mahabharata."

"Mahari dance tradition in which the Oriya verse goes: Pancha bhuta khiti op tejo maruta Byomo Pancha sati nirjyasa gyani bodho Gomyo Ahalya Draupadi Kunti Tara Mandodari totha Pancha kanya..."

"Five elements, earth, water, fire, wind, [[ether are in essence the five satis. This the wise know as Ahalya, Draupadi, Kunti, Tara and Mandodari Five virgins...Ahalya personifies water, Draupadi represents fire, Kunti symbolises mother earth, Tara personifies wind and Mandodari ether. Draupadi’s personality personifies fire, while Sita (whom she incongruously includes in the group instead of Kunti) is the daughter of the earth."

"They [nine women in Hindu mythology] are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. All of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may well be remembered in daily prayers but none of them is regarded as an ideal woman, at least not recommended by anyone for emulation by others."

"In spite of several plus points to their credit – like the wisdom, courage, and sagacity of Draupadi, Tara and Damayanti, the keen and lively interest they evinced in their surroundings and also the part played by the former two in the management of their respective realms, the strong sense of duty, love and loyalty to their respective husbands as shown by Kunti, Mandodari and Shakuntala, the carving for knowledge as expressed by Maitreyi – none of them is a model for Hindu women."

"The large-eyed daughter of Kuntibhoja, Pritha by name, was endued with beauty and every accomplishment. Of rigid vows, she was devoted to virtue and possessed of every good quality. Her father Kuntibhoja invited, O best of monarchs, the princes and kings of other countries and desired his daughter to select her husband from among her guests. The intelligent Kunti, entering the amphitheatre, beheld Pandu--the foremost of the Bharatas... The amiable daughter of Kuntibhoja… advancing with modesty,...placed the nuptial garland about Pandu's neck."

"Pandu was married to Kunti, the adopted daughter of King Kuntibhoja. Her real father was King Sura of the Yadava clan. Kuntibhoja had adopted her and used her to serve a Brahmin visiting his court. This Brahmin [Durvasa] was known both for his irascibility and his great magical powers. Kunti served him so well that he blessed the king and gave Kunti several mantras with which she could call any god to father her child. In her childish curiosity, Kunti used one mantra and called Surya, the sun-god. He appeared immediately and begot a son on her. Frightened, Kunti put the child in a box, with gold and jewelery, and set it in the river. The boy was found and adopted by the suta Adhiratha, and became known as Karna."

"She called three gods to father his sons. Dharma, or Yudhisthira, was born of god Yama, also called Dharma, the god of [[death and regulation. A year later the second son Bhima was born of the wind god. He was a giant in stature and powers. The next year, the third son Arjuna was born of Indra, the king of gods. These three sons are called Kaunteya (sons of Kunti) in the Mahabharata. Kunti’s co-wife Madri begged Pandu to ask Kunti to give her a mantra too. Kunti did so. Madri called the twin gods Ashvini and gave birth to twins called Nakula and Sahadeva. They were called Madreya, sons of Madri. All the five children were collectively called Pandavas, the sons of Pandu."

"As a spendthrift squanders his money unthinking, so did my father give me away when yet a girl to his friend. Kunti complaining about her father."

"Kunti did not know his [Karna's] fate till years later, when she was not in a position to acknowledge him as her son. The son, on his part, never forgave the mother for having abandoned him. From the minute of his birth to well after his death this child was a constant source of dread and sorrow to the mother."

"Kunti returned to Hastinapura with the five children, the two half-charred bodies and a retinue of Brahmins and servants. The citizens of Hastinapura watched the sad procession and talked among themselves."

"Are they all his children? “How can they be?” “Whose else could they be?"

"Kunti heard these remarks with fear in her heart but all her doubts were laid at rest by the manner in which Bhishma received her. The king and Madri were given a State cremation. The whole court went into mourning. The five children were received as princes and given into the care of the family tutors for instruction along with their cousins, the Kauravas."

"These years of Kunti’s life were comparatively peaceful. Hardly had Kunti heaved a sigh of relief when fresh troubles arose. Though the Pandavas were received as princes, they were not acknowledged as sole heirs to the throne. Dhritarashtra continued to rule though uncrowned and quarrels broke out among the cousins. Kunti’s Bhima, a hefty fellow, delighted in frightening his cousins. Apparently they in their turn tried to poison him. Kunti’s children proved themselves to be quick in learning the art."

"Kunti and Draupadi are two women who shape the entire course of dynastic destiny in the Mahabharata. Kunti chooses the scion of Hastinapura, Pandu, to wed, and becomes the mother of the epic’s protagonists: the Pandavas."

"By birth, she is a Yadava and her brother’s son is Krishna, one of the major shapers of epic action."

"Kunti, or Pritha, is the daughter of Shoora of the Vrishnis, given away when just a child to her father’s childless friend Kuntibhoja. This rankles deep within her; she voices her resentment pointedly both before and after the Kurukshetra war. Growing up in Kuntibhoja’s apartments, she finds no mother; Kuntibhoja himself hands her over, in adolescence, to the vagaries of the eccentric, w:Irascibleirascible and fiery sage Durvasa. Should she displease the sage, she is warned, it will dishonour her guardian’s clan as well as her own."

"Large-eyed and well endowed, as her name Pritha connotes, she is strikingly lovely, and Kuntibhoja exhorts her not to neglect any service out of pride in her beauty. Kunti’s relationship with Durvasa does not appear to have been easy. In the account she gives much later to Vyasa, she tells him that despite Durvasa’s conduct having been such as to provide abundant cause for anger,she had not given way to it . She further states that she was constrained at the sage’s insistence to accept his boon, whereby any god would be compelled to answer her summons, and that she obeyed out of fear of his curse. The interaction that she describes after this between her and the sun god, Surya, is exactly similar – the same insistence and the same fear."

"Kunti, like Ahalya with Indra, is curious. She wishes to test whether Durvasa’s boon really works. Significantly, this desire arises in her after she has menstruated. In her account to Vyasa, she frankly states that she had desired (sprihayanti) Surya, again reminding us of Ahalya when approached by Indra. Perceiving a radiant being in the rising sun she invites him, using the mantra. Once summoned, Surya, like Indra, will not return unsatisfied. He cajoles and browbeats the girl, assuring her of unimpaired virginity, and threatening to consume the kingdom and the boon-bestowing sage if denied. A thrilling conflation of desire and fear overpower Kunti’s reluctance, and she stipulates that the son thus born must be like his father."

"Kunti wins two boons from the encounter: her own virgo intacta and special powers for her son."

"Kunti summoned the eternal god of justice to obtain offspring from him. And she offered without loss of time, sacrifices unto the god and began to duly repeat the formula that Durvasa had imparted to her some time before. 'O Kunti, what am I to give thee?' And Kunti too smiling in her turn, replied, 'Thou must even give me offspring.'"

"Then the handsome Kunti was united (in intercourse) with the god of justice in his spiritual form and obtained from him a son devoted to the good of all creatures. And she brought his excellent child.... an incorporeal voice (from the skies) said,...And this first child of Pandu shall be known by the name of w:YudhishtiraYudhishthira. Possessed of prowess and honesty of disposition, he shall be a famous king, known throughout the three worlds."

"The wise have declared that a Kshatriya must be endued with physical strength, otherwise he is no Kshatriya."

"What, O Kunti, am I to give thee? Tell me what is in thy heart."

"Give me, O best of celestials, a child endued with great strength and largeness of limbs and capable of humbling the pride of every body."

"How am I to obtain a very superior son who shall achieve world-wide fame?"

"I shall give thee, O king, a son who will be celebrated all over the three worlds and who will promote the welfare of Brahmanas, kine and all honest men. The son I shall give thee will be the smiter of the wicked and the delight of friends and relatives. Foremost of all men, he will be an irresistible slayer of all foes."

"O fortunate one, thy vow hath become successful. The lord of the celestials hath been gratified, and is willing to give thee a son such as thou desirest, of superhuman achievements and great fame. He will be the oppressor of all enemies and possessed of great wisdom. Endued with a great soul, in splendour equal unto the Sun, invincible in battles, and of great achievements, he will also be extremely handsome. O thou of fair hips and sweet smiles, the lord of the celestials hath become gracious to thee. Invoking him, bring thou forth a child who will be the very home of all Kshatriya virtues."

"Kunti, thus addressed by her lord, invoked Sakra (the king of the gods) who thereupon came unto her and begat him that was afterwards called Arjuna."

"The wise do not sanction a fourth delivery even in a season of distress. The woman having intercourse with four different men is called a Swairini (heanton), while she having intercourse with five becometh a harlot. Therefore, O learned one, as thou art well-acquainted with the scripture on this subject, why dost thou, beguiled by desire of offspring, tell me so in seeming forgetfulness of the ordinance"

"O slayer of foes, I have no complaint even if thou beest unpropitious to me. I have, O sinless one, also no complaint that though by birth I am superior to Kunti yet I am inferior to her in station. I do not grieve, O thou of Kuru's race, that Gandhari hath obtained a hundred sons. This, however, is my great grief that while Kunti and I are equal, I should be childless, while it should so chance that thou shouldst have offspring by Kunti alone. If the daughter of Kuntibhoja should so provide that I should have offspring, she would then be really doing me a great favour and benefiting thee likewise. She being my rival, I feel a delicacy in soliciting any favour of her. If thou beest, O king, propitiously disposed to me, then ask her to grant my desire."

"O Kunti, grant me some more offspring for the expansion of my race and for the benefit of the world. O blessed one, provide thou that I myself, my ancestors, and thine also, may always have the funeral cake offered to us. O, do what is beneficial to me, and grant me and the world what, indeed, is the best of benefits. O, do what, indeed, may be difficult for thee, moved by the desire of achieving undying fame. Behold, Indra, even though he hath obtained the sovereignty of the celestials, doth yet, for fame alone, perform sacrifices. O handsome one, Brahmanas, well-acquainted with the Vedas, and having achieved high ascetic merit, do yet, for fame alone, approach their spiritual masters with reverence. So also all royal sages and Brahmanas possessed of ascetic wealth have achieved, for fame only, the most difficult of ascetic feat. Therefore, O blameless one, rescue this Madri as by a raft (by granting her the means of obtaining offspring), and achieve thou imperishable fame by making her a mother of children."

"Think thou, without loss of time, of some celestial, and thou shall certainly obtain from him a child like unto him."

"Madri thought of the twin Aswins, who coming unto her with speed begat upon her two sons that were twins named Nakula and Sahadeva, unrivalled on earth for personal beauty."

"Having given her the formula of invocation only once, she hath, O king, managed to obtain two sons. Have I not been thus deceived by her, I fear, O king, that she will soon surpass me in the number of her children. This, indeed, is the way of all wicked women. Fool that I was, I did not know that by invoking the twin gods I could obtain at one birth twin children. I beseech thee, O king, do not command me any further. Let this be the boon granted (by thee) to me."

"Of passions under complete control, this hero [Pandu], O Madri, had all along been watched by me with care. How did he then forgetting the Rishi's curse, approach thee with enkindled desire? O Madri, this foremost of men should have been protected by thee. Why didst thou tempt him into solitude? Always melancholy at the thought of the Rishi's curse, how came he to be merry with thee in solitude? O princess of Valhika, more fortunate than myself, thou art really to be envied, for thou hast seen the face of our lord suffused with gladness and joy."

"I am the older of his wedded wives; the chief religious merit must be mine. Therefore, O Madri, prevent me not from achieving that which must be achieved. I must follow our lord to the region of the dead. Rise up, O Madri, and yield me his body. Rear thou these children."

"I do clasp our lord yet, and have not allowed him to depart; therefore, I shall follow him. My appetite hath not been appeased. Thou art my older sister, O let me have thy sanction. This foremost one of the Bharata princes had approached me, desiring to have intercourse. His appetite unsatiated, shall I not follow him in the region of Yama to gratify him? O revered one, if I survive thee, it is certain I shall not be able to rear thy children as if they were mine. Will not sin touch me on that account? But, thou, O Kunti, shall be able to bring my sons up as if they were thine. The king, in seeking me wishfully, hath gone to the region of spirits; therefore, my body should be burnt with his. O revered sister, withhold not thy sanction to this which is agreeable to me. Thou wilt certainly bring up the children carefully. That indeed, would be very agreeable to me. I have no other direction to give!"

"O illustrious Kshattri, Bhimasena is missing! Where has he gone? The other brothers have all come back from the gardens, only Bhima of mighty arms does not come home! Duryodhana likes him not. The w:KauravaKaurava is crooked and malicious and low-minded and imprudent. He coveteth the throne openly. I am afraid he may have in a fit of anger slain my darling. This afflicts me sorely, indeed, it burns my heart."

"Kunti to Vidura when she found that her second Bhima had gone missing."

"He is Karna, whom the world has abandoned....A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga.... Then Kunti appeared....She had come to tell Karna a story."

"Karna inclined his beautiful head and listened. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun. The young mother loved her first-born son deeply, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhiratha, a charioteer. And named Karna."

"Who was she? Who was my mother? Tell me where she is. Take me to her."

"Standing before you."

"Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be?"

"In reply Kunti took the regal face in her hands, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss."

"Did you know how much I missed you?"

"A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is then that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract. She invoked the Love Laws."

"They are your brothers. Your own flesh and blood. Promise me that you will not go to war against them. Promise me that."

"Karna the Warrior could not make that promise, for if he did, he would have to revoke another one. Tomorrow he would go to war, and his enemies would be the Pandavas. They were the ones, Arjuna in particular, who had publicly reviled him for being a lowly charioteer’s son And it was Duryodhana, the eldest of one hundred Kaurava brothers, that came to his rescue by gifting him a kingdom of his own. Karna, in return, had pledged Duryodhana eternal fielty. But Karna the generous could not refuse his mother what she asked of him. Made a small adjustment, took a somewhat altered oath."

"I promise you this. You will always have five sons. Yudhishtira, I will not harm. Bhima will not die by my hand. The twins – Nakula and Sahadeva – will go untouched by me. But Arjuna – him I will make no promises about. I will kill him, or he will kill me. One of us will die."

"All these women [legendary women including Ambika, Devahuti, Draupadi, Parvati, Saraswati, Sati, Shakuntala and Sita.] belong to the early Vedic times and are still revered for their extraordinary powers and roles. They symbolize the virtues that Hinduism ordains its followers to pursue, establishing the fact that essence of the joy of life lies in pure, sacred and ever widening conjugal love."

"Draupadi, Tara, Ahalya, Mandodari, Sita, Savitri, Sati, and Damayanti are worshipped by Hindus as divine women of dharma, noted for unwavering devotion to their husbands, and for standing by them through all ups and downs in their lives. These together with w:MaitreyiMaitreyi and Gargi, should be an inspiration to the succeeding generations."

"The royal spouse of Sacontale (Shakuntala) Weary of victories, rejoices When he finds her paler From waiting and eyes pale from love, Petting her male gazelle."

"In drama, his Abhijnanashakuntala is the most famous and is usually judged the best Indian literary effort of any period. Taken from an epic legend, the work tells of the seduction of the nymph Shakuntala by King Dushyanta, his rejection of the girl and his child, and their subsequent reunion in heaven. The epic myth is important because of the child, for he is Bharata, eponymous ancestor of the Indian nation(Bharatavarsha, “Subcontinent of Bharata”)."

"It tells the story of the hermit girl Shakuntala, the daughter of the celestial nymph Menaka and the sage Vishvamitra. The poet Kalidasa intends Shakuntala to be the focus of attention. This is not the story of King Dushyanta, or their son Bharata, who according to Mahabharata is the emperor whose rule gives India its Sanskrit name Bharat."

"Europe first learned of the old Indian drama from Sir William Jones's translation of Kalidasa's Shakuntala, published in 1789. Something in the nature of a commotion was created among European intellectuals by this discovery...Goethe was powerfully impressed and paid magnificent tribute."

"Goethe in German language: Willst du die Blüthe des frühen, die Früchte des späteren Jahres, Willst du, was reizt and entzückt, willst du was sättigt and nährt, Willst du den Himmel, die Erde, mit Einem Namen begreifen; Nenn’ ich, Sakuntala, Dich, and so ist Alles gesagt."

"English translation by Eastwich: Wouldst thou the young year's blossoms and the fruits of its decline, And all by which the soul is charmed, enraptured, feasted, fed? Wouldst thou the earth and heaven itself in one sole name combine? I name thee, O Shakuntala, and all at once is said."

"Among the first works of Sanskrit literature translated into European languages, its skilful plot of thwarted love and eventual redemption has long charmed audiences around the world. Shakúntala's story is a leitmotiv that recurs in many works of Indian literature and culminates in the master Kalidasa's drama."

"They [nine women in Hindu mythology] are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. All of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may well be remembered in daily prayers but none of them is regarded as an ideal woman, at least not recommended by anyone for emulation by others."

"In spite of several plus points to their credit – like the wisdom, courage, and sagacity of Draupadi, Tara and Damayanti, the keen and lively interest they evinced in their surroundings and also the part played by the former two in the management of their respective realms, the strong sense of duty, love and loyalty to their respective husbands as shown by Kunti, Mandodari and Shakuntala, the carving for knowledge as expressed by Maitreyi – none of them is a model for Hindu women."

"The epic Mahabharata tells the story of the noble descendants of King Bharat from whose name India, i.e., Bharat originated. Bharat was the son of Shakuntala and Dushyanta. This story is also the subject matter of Kalidasa's Abhijñānaśākuntala."

"Shakuntala in both the epic and Kalidasa's play is shown as the daughter of the royal sage Vishwamitra and Menaka, the celestial nymph. Long ago, the powerful sage Vishwamitra is engaged in concentrated meditation, great austerities and penance that would give him almost absolute power over kingdom of earth and heaven Indra decided to put obstacles in his austerities and thereby break his sadhana..."

"Menaka had to return to heaven. Therefore they leave the child amidst a beautiful garden near a lake. A swan in the lake sees the crying child and gives it some water. Then a sage named Kanva, who is passing by, sees the swan giving water to the child. In this way the child protected by birds (Shakunton in Sanskrit), and, therefore, she is named Shakuntala. The sage Kanva decides to take the child home and names it ‘Shakuntala’. Vishvamitra, whose tapas are broken, leaves for forest to retreat. Rishi Kanva brings up the child. Shakuntala blossoms as a most beautiful lady under the loving care of Kanva."

"One day, King Dushyanta, while on a hunting expedition, pursues a male deer wounded by his arrow...He reaches Kanva’s ashram. Shakuntala and her two companions were watering the plants at that time with sisterly affection and Shakuntala was nursing the wounded deer."

"He [Dushyanta] first chooses to eavesdrop on all the young women and then introduces himself as an officer of the king. Of the three girls Shakuntala captures his fancy. Shakuntala appears to him as beautiful as the goddess of fortune, but dressed as an ascetic....he then feels that Shakuntala is his perfect bride."

"Dushyanta and Damayanti fall in love with each other...They are married according to the Gandharva rites, while still basking in the euphoria of love. As an evidence of his office, the king shows her the ring with his own name Dushyanta inscribed on it. Dushyanta gets ready to leave for his capital and promises to send a huge escort sent to her later to bring her to the capital. But before leaving he gives his precious ring to Shakuntala, cautioning her not to loose it."

"Shakuntala becomes pregnant. One day a powerful rishi, Durvasa comes to the ashram. Since Shakuntala is lost in thoughts about Dushyanata, she fails to greet him properly. Incensed by this slight, the rishi curses Shakuntala, saying that the person she is dreaming of would forget about her altogether. As Durvasa is about to depart in a rage, one of Shakuntala's friends quickly explains to him the reason for Shakuntala's distraction. The rishi, realising that his extreme wrath is not warranted, modifies his curse, saying that the person who has forgotten Shakuntala would remember everything again if she shows him a personal token that had been given to her."

"After some days, Shakuntala wonders why Dushyanta has not returned to her. Her worry almost turned into panic because of the fact that she is pregnant. Soon, her condition reveals the truth. Rishi Kanva and ladies of the ashram notice the change."

"Rishi Kanva had brought up Shakuntala as his own daughter, and hence, he decides to send her to her husband, King Dushyanta, where she should be accepted as Dushyanta's queen. On the way, they cross a river by a canoe ferry. Shakuntala feels charmed by the deep blue waters of the river and runs her fingers through the water Her ring slips of her finger, and she does not realize it."

"Shakuntala reaches the court of Dushyanta. A message is sent to the king of the arrival of a woman who claims to be his wife. Dushyanta, under the influence of the ascetic's curse, disowns Shakuntala in open court, dashing her hopes, and crushing her reputation."

"Shakuntala tells him about the ring and tries to show it to him, but she is not able to find it on her finger... [She] failed to remind Dushyanta of his promise to marry him."

"Frustrated at this, Shakuntala leaves for the forest all alone and decides to give birth to the child...She lives in the penance grove of Maricha and learns the lessons of suffering. In due course she gives birth to a most beautiful and intelligent son. The boy is named Bharat. Bharat blossoms into a strong youth. His only human companion is his mother. He starts playing with wild animals and rides on them as one rides horses. The mother teaches him as a prince. He opens the mouths of tigers and lions to count their teeth."

"A fisherman is surprised to find a royal ring in the belly of a fish he has caught. He recognizes the royal seal. Upon seeing this ring Dushyanta’s memories of Shakuntala flashes into the mind. An old curse of forgetfulness laid on the king is broken and the king is repentant and becomes subdued."

"He immediately set out to find her. He reaches her father’s ashram, but she is no longer there. He goes deeper into the forest to find out Shakuntala. There he finds a young boy opening the mouth of a lion. The boy is counting its teeth. The king greets the boy. He is amazed by the boy's boldness and strength and asks his name. He feels surprised when the boy answers that he is Bharat, the son of king Dushyanta. The boy takes him to Shakuntala. Shakuntala and her son are accepted with dignity and reverence by Dushyanata."

"Amazed at the whole spectacle, the king, in the words of Kalidasa in his play thus speaks: In a dusty apparel, grey appearing With a face penance, impaired; with hair unknotted; So unkind as I was, yet chaste her bearing From myself, parted so long, remains devoted."

"Thus, Shakuntala, the fine character in the Mahabharata and Kalidasa's Abhijnanasakuntalam has been the finest love. Although and the most striking specimen of romantic born of a heavenly nymph, she is shown essentially as human. She errs, suffers, corrects herself, and is elevated to the galaxy of great women."

"King Dushyanta, while on a gaming expedition (safari), and arrives at the hermitage of sage Kanva. The latter was away and his adopted daughter Shakuntala looks after the distinguished guest’s needs. Dushyanta, immediately on seeing her, is struck by her beauty and offers to marry her. Shakuntala lays down a condition that the king should promise to hand over the kingdom to the son born to her and Dushyanata agrees. They marry and spend some happy days, after which the king returns to his capital."

"Shakuntala in course of time gives birth to a son who is named Sarvadamana."

"Six years pass and still Dushyanta does not send for his spouse and son. Sage Kanva voluntarily decided to send Shakuntala to the palace. When she arrives at Dushyanta’s abode, he refuses to recognize her. Shakunatala is grief stricken Then amidst her lament a heavenly voice commands Dushyanta: “He is your son. Accept him”. The king then takes him in and the boy later comes to be reknowned as Bharata."

"Dushyanata in the course of hunting expedition arrives at Kanva’s hermitage and there in the garden he sees Shakuntala engaged in watering the plants along with her maids. Mesmerized by her beauty, he desires to marry her while she also is deeply impressed by the sight of the royal dignitary. They then marry in the 'Gandharva' style. The king returns to the capital while Shakuntala, left behind does not ask her the king's promise to make her son the prince consort to succeed him."

"After the king returns, sage w:DurvasaDurvasa comes to call on sage Kanva. The latter was away and Shakuntala was so lost in her thoughts of king Dushyanata that the sage’s words:” I, a guest has come”, fell on her deaf ears."

"May the person about whom you are thinking forget you.! Later he relents and says: When he says an object, which he has given you and recognizes it, he will remember you."

"Unfortunately Shakuntala loses the ring given by Dushyanta who just forgets her."

"Kanva sends Shakuntala, now pregnant, to the court of Dushyanta along with his disciples....Kalidasa portrays the farewell of sage Kanva to Shakuntala very touchingly. The whole ashram is plunged in sorrow. Kanva, Shakuntala’s maids, all shed tears at departure; even the trees, plants and birds bow down with grief."

"Upon her arrival, King Dushyanata cannot recognize Shakuntala. He even thinks it improper to eye a damsel who is a stranger to him. He could not believe that this woman was his wife."

"The ring is lost on the way and Shakuntala, overcome with grief after being rejected by Dushyanta, collapses and is then she is carried away by a divine light. After a few days the ring is found in the stomach of a fish and Dushyanta, upon seeing it, remembers everything. He feels sad he rejected Shakuntala. Later on his way back from heaven where he had gone to assist Indra on an errand, he visits the hermitage of Maricha. There he sees a boy daringly attempting to bare the jaws of a lion’s cub. On inquiry he learns he is none other than his own son Sarvadamana."

"And the king [Dushyanta] having entered that forest which was like unto Indra's garden, soon forgot his hunger and thirst. And he was pleased beyond measure. And the monarch, laying aside all signs of royalty, entered that excellent asylum with but his minister and his priest, desirous of beholding that Rishi [Kashyapa] who was an indestructible mass of ascetic merit."

"And entering quite alone he saw not the Rishi (Kanwa) of rigid vows. And not seeing the Rishi and finding that the abode was empty,... there came out of the Rishi's abode a maiden beautiful as Sri herself but dressed as an ascetic's daughter. And the black-eyed fair one, as she saw king Dushyanta, bade him welcome and received him duly."

"My illustrious father hath gone away from the asylum to fetch fruit. Wait but a moment and thou wilt see him when he arrives...'O Dushyanta, I am the daughter of the virtuous, wise, high-souled, and illustrious ascetic Kanwa."

"O thou of the fairest complexion, how hast thou been born as his daughter? This great doubt of mine it behoveth thee to dispel."

"Viswamitra, of old, having been engaged in the austerest penances alarmed Indra, the chief of the celestials, who thought that the mighty ascetic of blazing energy would, by his penances, hurl him down from his high seat in heaven. Indra, thus alarmed, summoned Menaka."

"Thou, O Menaka, art the first of celestial Apsaras...My heart is trembling with fear. Indeed, O slender-waisted Menaka, this is thy business...you must see that Viswamitra of soul rapt in contemplation and engaged in the austerest penances, who might hurl me down from my seat. Go and tempt him and frustrating his continued austerities accomplish my good."

"And the timid and beautiful Menaka then entered the retreat and saw there Viswamitra who had burnt, by his penances, all his sins.... And beholding her beauty and accomplishments that bull amongst Rishis was possessed with lust and made a sign that he desired her companionship...And they then passed a long time there in each other's company. And sporting with each other, just as they pleased, for a long time as if it were only a single day, the Rishi begat on Menaka a daughter named Sakuntala. And Menaka went to the banks of the river Malini...And there she gave birth to that daughter. And she left the new-born infant on the bank of that river and went away."

"And beholding the new-born infant lying in that forest destitute of human beings but abounding with lions and tigers, a number of vultures sat around to protect it from harm.... I went there to perform my ablution and beheld the infant lying in the solitude of the wilderness surrounded by vultures. Bringing her hither I have made her my daughter. And because she was surrounded in the solitude of the wilderness, by Sakuntas (birds), therefore, hath she been named by me Shakuntala (bird-protected)."

"Well-spoken, O princess, this that thou hast said! Be my wife, O beautiful one! What shall I do for thee? Golden garlands, robes, ear-rings of gold, white and handsome pearls, from various countries, golden coins, finest carpets, I shall present thee this very day. Let the whole of my kingdom be thine today, O beautiful one! Come to me, O timid one, wedding me, O beautiful one, according to the Gandharva form."

"If this be the course sanctioned by religion, if, indeed, I am my own disposer, hear, O thou foremost one of Puru's race, what my terms are. Promise truly to give me what I ask thee. The son that shall be begotten on me shall become thy heir-apparent. This, O king, is my fixed resolve. O Dushyanta, if thou grant this, then let our union take place."

"...first of kings wedded the handsome Shakuntala of graceful gait and knew her as a husband."

"I shall send thee, for thy escort, my troops of four classes. Indeed, it is even thus that I shall take thee to my capital, O thou of sweet smiles!"

"The moment the king had left, Kanwa arrived at his abode. But Shakuntala, from a sense of shame, did not go out to receive her father. That great ascetic, however, possessed of spiritual knowledge, knew all. Indeed beholding everything with his spiritual eye, the illustrious one was pleased"

"Amiable one, what hath been done by thee today in secret, without, having waited for me--viz., intercourse with a man--hath not been destructive of thy virtue. Indeed, union according to the Gandharva form, of a wishful woman with a man of sensual desire, without mantras of any kind, it is said, is the best for Kshatriyas. That best of men, Dushyanta, is also high-souled and virtuous. Thou hast, O Shakuntala, accepted him for thy husband. The son that shall be born of thee shall be mighty and illustrious in this world."

"After Dushyanta had left the asylum having made those promises unto Shakuntala, the latter... brought forth a boy of immeasurable energy. And when the child was three years old, he became in splendour like the blazing fire."

"When he was only six years of age, endued with great strength he used to seize and bind to the trees,... lions and tigers and bears and buffaloes and elephants. And he rode on some animals, and pursued others in sportive mood. The dwellers at Kanwa's asylum thereupon bestowed... on him a name called Sarvadamana (the subduer of all)."

"Bear ye without delay this Sakuntala with her son from this abode to that of her husband, blessed with every auspicious sign. Women should not live long in the houses of their paternal or maternal relations. Such residence is destructive of their reputation, their good conduct, their virtue. Therefore, delay not in bearing her hence."

"This is thy son, O king! Let him be installed as thy heir-apparent. O king, this child, like unto a celestial, hath been begotten by thee upon me. Therefore, O best of men, fulfil now the promise thou gavest me. Call to mind, O thou of great good fortune, the agreement thou hadst made on the occasion of thy union with me in the asylum of Kanwa."

"O Shakuntala, I do not know having begot upon thee this son. Women generally speak untruths. Who shall believe in thy words? Destitute of all affection, the lewdMenaka is thy mother, and she cast thee off on the surface of the Himavat as one throws away, after the worship is over, the flowery offering made to his gods. Thy father too of the Kshatriya race, the lustful Viswamitra, who was tempted to become a Brahmana, is destitute of all affection. However, Menaka is the first of Apsaras, and thy father also is the first of Rishis. Being their daughter, why dost thou speak like a lewd woman?"

"Thou seest, O king, the fault of others, even though they be as small as a mustard seed. But seeing, thou noticest not thy own faults even though they be as large as the Vilwa fruit. Menaka is one of the celestials. Indeed, Menaka is reckoned as the first of celestials. My birth, therefore, O Dushmanta, is far higher than thine. Thou walkest upon the Earth, O king, but I roam in the skies! Behold, the difference between ourselves is as that between (the mountain) Meru and a mustard seed!Behold my power, O king!....O king, Truth is God himself; Truth is the highest vow. Therefore, violate not thy pledge, O monarch! Let Truth and thee be even united. If thou placest no credit in my words, I shall of my own accord go hence. Indeed, thy companionship should be avoided. But thou, O Dushyanta, that when thou art gone, this son of mine shall rule the whole Earth surrounded by the four seas and adorned with the king of the mountains.'"

"Shakuntala having spoken to the monarch in this wise, left his presence. But as soon as she had left, a voice from the skies, emanating from no visible shape, thus spoke unto Dushyanta..."

"The mother is but the sheath of flesh; the son sprung from the father is the father himself. Therefore, O Dushyanta, cherish thy son, and insult not Shakuntala. O best of men, the son, who is but a form of one's own seed, rescueth (ancestors) from the region of Yama. Thou art the progenitor of this boy. Shakuntala hath spoken the truth. The husband, dividing his body in twain, is born of his wife in the form of son. Therefore, O Dushyanta, cherish, O monarch, thy son born of Shakuntala."

"A celestial voice spoke to Dushyanta"

"The monarch, then, O thou of Bharata's race, seeing the purity of his son established by the celestial messenger, became exceedingly glad. And he took unto him that son with joy. And the king with a joyous heart then performed all those rites upon his son that a father should perform."

"O goddess, my union with thee took place privately. Therefore, I was thinking of how best to establish thy purity. My people might think that we were only lustfully united and not as husband and wife, and therefore, this son that I would have installed as my heir apparent would only have been regarded as one of impure birth. And dearest, every hard word thou hast uttered in thy anger, have I, O large-eyed one, forgiven thee."

"King Dushyanta, then, bestowed the name of Bharata upon his child, and formally installed him as the heir apparent"

"The tale of Satyavan and Savitri is recited in the Mahabharata as a story of conjugal love conquering death. But this legend is, as shown by many features of the human tale, one of the many symbolic myths of the Vedic cycle. Satyavan is the soul carrying the divine truth of being within itself but descended into the grip of death and ignorance; Savitri is the Divine Word, daughter of the Sun, goddess of the supreme Truth who comes down and is born to save; Aswapati, the Lord of the Horse, her human father, is the Lord of Tapasya, the concentrated energy of spiritual endeavour that helps us to rise from the mortal to the immortal planes; Dyumatsena, Lord of the Shining Hosts, father of Satyavan, is the Divine Mind here fallen blind, losing its celestial kingdom of vision, and through that loss its kingdom of glory. Still this is not a mere allegory, the characters are not personified qualities, but incarnations or emanations of living and conscious Forces with whom we can enter into concrete touch and they take human bodies in order to help man and show him the way from his mortal state to a divine consciousness and immortal life."

"O Devi [Lakshmi], whose heart is full of mercy, who is worshipped throughout the three worlds and who is the giver of all fortune and the mother of Creation. All glories to You, o shelter of all living entities. O fulfiller of all desires, You are the wonderful energy of Lord Achyuta [Vishnu], who is maintaining the three worlds. You are the Supreme Goddess. O protector of the devotees, all glories to You. O Devi, it is You who fulfills the desires of the devotees, and it is You who engages them in the service of Lord Achyuta. You are eternal and deliverer of all fallen souls. All glories unto You. O Devi, for the welfare and protection of the three worlds, You take on many forms such as Ambika, Brahmi, Vaishnavi, Maheshwari, Varahi Maha-Lakshmi, Narasimhi, Indri, Kumari, Chandika, Lakshmi, Savitri, Chandrakala, Rohini and Parameshwari. All glories unto You, whose glories are unlimited. Kindly be merciful upon me."

"In the story of Sāvitrī we have one of the finest of the many ideal female characters which the older epic poetry of India has created. Sāvitrī, daughter of Açvapati, king of Madra, chooses as her husband Satyavat, the handsome and noble son of a blind and exiled king, who dwells in a forest hermitage. Though warned by the sage Nārada that the prince is fated to live but a single year, she persists in her choice, and after the wedding departs with her husband to his father's forest retreat. Here she lives happily till she begins to be tortured with anxiety on the approach of the fatal day. When it arrives, she follows her husband on his way to cut wood in the forest. After a time he lies down exhausted. Yama, the god of death, appears, and taking his soul, departs. As Sāvitrī persistently follows him, Yama grants her various boons, always excepting the life of her husband; but yielding at last to her importunities, he restores the soul to the lifeless body. Satyavat recovers, and lives happily for many years with his faithful Sāvitrī."

"Gandhi, father of the nation, asked Indian women to follow the examples of pure and pious Sita, Savitri and Parvati and appreciated the firmness of the character of Draupadi and Damayanti."

"They [nine women in Hindu mythology] are Ahalya, Draupadi, Tara, Kunti, Mandodari, Sita, Savitri, Parvati, Damayanti, Maitreyi and Shakuntala. All of them were not held in the same degree of esteem and reverence. The first five women, known as pancakanya, may well be remembered in daily prayers but none of them is regarded as an ideal woman, at least not recommended by anyone for emulation by others."

"Why is it that our country is the weakest and the most backward of all countries? Because Shakti is held in dishonour. Without the grace of Shakti nothing is to be accomplished... To me, Mother's grace is a hundred times more valuable than Father's... fie on him who has no devotion for the Mother....If an Indian woman in Indian dress preaches the religion which fell from the lips of the Rishis of India, it will inundate the Western world. Will there be no women in the land of Maitreyi, Khana, Lilavati, Savitri and Ubhayabharati?"

"Good Sávitrí her lord obeyed, And a high saint in heaven was made, And for the self-same virtue thou Hast heaven in thy possession now."

"The Princes Savitri is so beautiful that people think she is a goddess. But is her mind and heart, not her beauty, which makes her a heroine. When she finds a man worthy to wed her, no one sway Savitri her from hearts path – not even Yama, the God of death. Savitri pursues him as she carries her husband’s spirit to his kingdom. It is finally Savitri’s, cleverness which wins back her husband’s life."

"Ideal characters must always be presented before the view of the girls to imbue them with a devotion to lofty principles of selflessness. The noble examples of Sita, Savitri, Damayanti, Lilavati, Khana, and Mirâ should be brought home to their minds and they should be inspired to mould their own lives in the light of these."

"Savitri, a lovely daughter of a king Ashwapati, loves Satyavan, the son of an old hermit, but is warned by a seer to overcome her attachments as Satyvan is doomed man, having only one year to live."

"Whether his years are few or many, be he gifted with all the grace Or graceless, him my heart has chosen, and it choseth not again."

"The kings daughter and the hermits son are therefore married, and the bride strive to forget the ominous prophesy; but as the last day approaches her anxiety becomes irrepressible. She exhausts herself in prayers and penances, hoping to stay the hand of the destroyer; yet all the while dares not reveal the fatal secret to her husband. As the last dreaded day arrives, and Satyavan sets out to cut in the forest. His wife asks leave to accompany him, but with a heavy heart. Satyavan soon makes the wood resound with his hatchet, when suddenly through his temples shoots a thrill of agony, and feeling himself falling he calls out to his wife to support him."

"Then she received her fainting husband in her arms, and sate herself On the cold ground, and gently laid his drooping head upon her lap; Sorrowing, she call'd to mind the sage's prophecy, and reckoned up The days and hours. All in an instant she beheld an awful shape Standing before her, dressed in blood~red garments, with a glittering crown Upon his head; his form though glowing like the sun, was yet obscure; And eyes he had like flames, a noose descended from his hand, and he Was terrible to look upon, by her husband’s side he stood And gazed upon him with a fiery glance. Shuddering she started up And laid her dying Satyavan upon the ground, and with her hands Joined reverently, she thus with beating heart addressed the Shape: Surely thou art a god, such form as thine must more than mortal be. Tell me, though godlike being, who though art, and wherefore art though here."

"The figure replies that he is Yama, king of death; that her husband's time is come, and that he must bind and take his spirit."

"Then from her husband's body forced he out and firmly with his cord Bound and detained the spirit, like in size and ...length to man’s thumb. Forthwith the body, bereft of vital being and deprived of breath, Lost all its grace and beauty, and became ghastly and motionless."

"After binding the spirit, Yama proceeds with it towards his own quarter, the south. The faithful wife follows him closely. Yama bids her go home and prepare her husband’s funeral rites, but she persists in following, till Yama pleased with her devotion grants her any boon she pleases except the life of her husband. She chooses that her husband’s father, who is blind may recover his sight. Yama consents, and bids her now return home. Two other boons are granted in the same way, and still Savitri follows closely on the heels of the king of death. At last, overcome by her constancy, Yama grants a boon without exception. The delighted Savitri exclaims."

"Nought, mighty king, this time hast thou excepted: let my husband live; Without him I desire not happiness, nor even heaven itself; Without him I must die. "So be it! faithful wife“, replied the king of death. “Thus I release him;” and with that he loosed the cord that bound his soul."

"Aswapati, king of the Maduras, for a long time had no children, but at last he had a very beautiful daughter, named Savitri. As no one had asked her in marriage after she had become of full age, her father allowed her to make her own choice."

"After a long search she fixed upon Satyavan son of the blind ex-king of the Salvas, living in the forest. His name means “truthful,” and he was distinguished for every excellency."

"Narada came on a visit to Aswapati, and they talked about Savitri's marriage. Just then she came back from her search, and reported that she had chosen Satyavan. Narada acknowledged his great merits, but there was one fatal defect.- he would die within a year...Notwithstanding this, Savithri would have him. After the marriage Savithri took off all her ornaments and clothed herself in bark and cloth dyed red."

"Savitri counted the days her husband had to live. When he would die on the fourth day, she fasted three days and three nights. On the fourth day when her husband was going to the forest to gather fuel, Savitri insisted upon accompanying him. Satyavan suddenly got ill and lay down with his head on Savitri's lap."

"She then saw a dreadful being approaching with a crown on his head, and a noose in his hand. On Savitri asking him who he was, he said that he was Yama, come to take away Satyavan. Yama pulled out of the body of Satyavan his prana, about he size of the thumb."

"When Yama went away in a southerly direction, Savitri followed him as the duty of a wife to follow her husband. Yama pleased with her, offered here a succession of boons, excepting the life of her husband. She first asked that her beloved father-in-law might have his sight restored; next that he might regain his kingdom, that he might have a hundred sons, and lastly that her husband might be restored to life. Yama agreed at last, and gave up the prana to her, upon which Satyavan revived and they lived happily 400 years."

"It was Pururavas who first brought from the region of the Gandharvas the three kinds of fire (for sacrificial purpose). And he brought thence, the Apsara Urvasi also. And the son of Ila begat upon Urvasi six sons who were called Ayus, Dhimat, Amavasu and Dhridhayus, and Vanayus, and Satayus. And it is said that Ayus begat four sons named Nahusha, Vriddhasarman, Rajingaya, and Anenas, on the daughter of Swarbhanu. And, O monarch, Nahusha, of all the sons of Ayus, being gifted with great intelligence and prowess ruled his extensive kingdom virtuously."

"Of the dialogue in the Rig Veda it may be said, that 'the language is coarse and the meaning is obscure.' We only gather that Urvasi, though she admits her sensual content in the society of Pururavas, is leaving him 'like the first of the dawns'; that she 'goes home again, hard to be caught, like the winds.' She gives her lover some hope, however—that the gods promise immortality even to him, 'the kinsman of Death' as he is. 'Let thine offspring worship the gods with an oblation; in Heaven shalt thou too have joy of the festival.' In the Rig Veda, then, we dimly discern a parting between a mortal man and an immortal bride, and a promise of reconciliation."

"Rigveda Hymn XCV. Urvasi. Purūravas."

"Purūravas: Ho there, my consort! Stay, thou fierce-souled lady, and let us reason for a while together. Such thoughts as these of ours, while yet unspoken in days gone by have never brought us comfort."

"Urvashi: What am I now to do with this thy saying? I have gone from thee like the first of Mornings. Purūravas, return thou to thy dwelling: I, like the wind, am difficult to capture."

"Purūravas: Like a shaft sent for glory from the quiver, or swift-steed winning cattle winning hundreds. The lightning seemed to flash, as cowards planned it. The minstrels bleated like a lamb in trouble."

"Urvashi: Giving her husband's father life and riches, from the near dwelling, when her lover craved her, She sought the home wherein she found her pleasure, accepting day and night her lord's embraces."

"Purūravas: Thrice in the day didst thou embrace thy consort, though coldly she received thy fond caresses. To thy desires, Purūravas, I yielded: so wast thou king, O hero, of my body."

"Urvashi: The maids Sujirni, Sreni, Sumne-api, Charanyu, Granthini, and Hradecaksus,— These like red kine have hastened forth, the bright ones, and like milch-cows have lowed in emulation."

"Purūravas: While he was born the Dames sate down together, the Rivers with free kindness gave him nurture; And then, Purūravas, the Gods increased thee for mighty battle, to destroy the Dasyus."

"Urvashi: When I, a mortal, wooed to mine embraces these heavenly nymphs who laid aside their raiment, Like a scared snake they fled from me in terror, like chariot horses when the car has touched them."

"Purūravas: When, loving these Immortal Ones, the mortal hath converse with the nymphs as they allow him. Like swans they show the beauty of their bodies, like horses in their play they bite and nibble."

"Urvashi: She who flashed brilliant as the falling lightning brought me delicious presents from the waters. Now from the flood be born a strong young hero May Uruvasi prolong her life for ever."

"Purūravas: Thy birth hath made me drink from earthly milch-kine: this power, Purūravas, hast thou vouchsafed me. I knew, and, warned thee, on that day. Thou wouldst not hear me. What sayest thou, when naught avails thee?"

"Urvashi: When will the son be born and seek his father? Mourner-like, will he weep when first he knows him? Who shall divide the accordant wife and husband, while fire is shining with thy consort's parents?"

"Purūravas: I will console him when his tears are falling: he shall not weep and cry for care that blesses. That which is thine, between us, will I send thee. Go home again, thou fool; ṭhou hast not won me."

"Urvashi: Thy lover shall flee forth this day for ever, to seek, without return, the farthest distance. Then let his bed be in Destruction's bosom, and there let fierce rapacious wolves devour him."

"Purūravas: Nay, do not die, Purūravas, nor vanish: let not the evil-omened wolves devour thee. With women there can be no lasting friendship: hearts of hyenas are the hearts of women."

"Urvashi: When amid men in altered shape I sojourned, and through four autumns spent the nights among them, I tasted once a day a drop of butter; and even now with that am I am contented."

"Purūravas: I, her best love, call Urvasi to meet me, her who fills air and measures out the region. Let the gift brought by piety approach thee. Turn thou to me again: my heart is troubled."

"Urvashi: Thus speak these Gods to thee, O son of Iḷā: As death hath verily got thee for his subject, Thy sons shall serve the Gods with their oblation, and thou, moreover, shalt rejoice in Svarga."

"King Pumrava of Vikramorvashiyam already had a beautiful queen but this does not deter him from running after Urvashi. Poor queen, daughter of king of Kashi, too looks on helplessly the affair of her husband with doting [[w:Apsara|Apsara."

"Urvashi, the heroine of his [Kalidasa’s] play Vikramorvashiyam, according to myth recorded in the Vishnudharmottara Purana, was herself a painting incarnate. Once beautiful heavenly damsels, Devastriya, appeared before Narayana|Bhagavan Narayana to seduce him."

"Mahamuni with mango juice drew on the earth the painting of an extremely beautiful girl, Urvashi. Witnessing the painting the pride of heavenly damsels lay shattered and they departed feeling terribly ashamed of themselves. This, the Purana says, was the first painting on the earth. However Kalidasa gives some other myth about the origin of Urvashi, the myth that she was born from the uru or thigh of Narayana."

"Kalidasa's Vikramorvashiyam is based on the Puranic versions of the love story of king Pururava and celestial nymph Urvashi. However earliest mention of Urvashi is found in the Vedic literature in different contexts. In a Rig Vedic hymn in a dialogue form, Samvad Sukta, the love story of Pururavas and Urvashi is found recorded. In this rather obscure hymn Pururava is portrayed as a glum melancholy dejected lover of a celestial nymph who had abandon him at will."

"In the hymn we see the pathetic king asking his cruel hearted beloved to take pity on him and return to him otherwise he may commit suicide. Urvashi rejects his entreaties and asks him to go back to his kingdom and perform his kingly duties. She also tells him that at appropriate time she will send his son to him who at that time was growing in her womb."

"The nymph Urvashi loved Pururavas, the son of Ila. When she wedded him she said, 'Thrice a day though embrace me, but do not lie with me against my will and let me not see naked for such is the way to behave to us women.'"

"She then dwelt with him a long time, and was even with child of him, so long she dwelt with him. Then the Gandharvas said to one another, 'For a long time, indeed, has this Urvashi dwelt among men; devise ye some means how she may come back to us. Now an ewe with two lambs was tied to her coach; Gandharvas than carried off one of the lambs."

"'Alas', she cried, 'they are taking away my darling, as if I were where there is no hero and no man!' They carried off the second, and she spake in the selfsame manner. He then thought within himself, 'How can that be [a place] without a hero and without a man where I am?' And naked, as he was, he sprang up after them: too long he deemed it that he should put on garments. Then the Gandharvas produced a flash of lightning, and she beheld him naked even as by daylight. Then, indeed, she vanished."

"Wailing with sorrow he wandered all over Kurukshetra. Now there is a lotus-lake there called Anyatahplaksha. He walked along its bank; and there nymphs were swimming about in the shape of Swans. And she (Urvashi) recognised him, said, 'This is the man with whom I have dwelt.' They then said, 'Let us appear to him!' 'So be it!', she replied; and they appeared to him."

"According to this theory Pururava-Urvashi dialogue hymn was one of the earliest known performative texts. Urvashi was the key figure of this text. There are legends showing relationship of Urvashi with dramatic art. Through a legend recorded in Natyashastra it is implied that she was responsible for bringing on earth the heavenly art of drama."

"...there was a king of the name of Purúravas, who was a devoted worshipper of Vishṇu; he traversed heaven as well as earth without opposition, and one day, as he was sauntering in Nandana, the garden of the gods, a certain Apsaras of the name of Urvaśí, who was a second stupefying weapon in the hands of Love, cast an eye upon him. The moment she beheld him, the sight so completely robbed her of her senses, that she alarmed the timid minds of Rambhá and her other friends."

"The king too, when he saw that torrent of the nectar of beauty, was quite faint with thirst, because he could not obtain possession of her. Then Vishṇu, who knoweth all, dwelling in the sea of milk, gave the following command to Nárada, an excellent hermit, who came to visit him"

"O Divine sage, the king Purúravas, at present abiding in the garden of Nandana, having had his mind captivated by Urvaśí, remains incapable of bearing the pain of separation from his love. Therefore go, O hermit, and informing Indra as from me, cause that Urvaśí to be quickly given to the king."

"Rise up, O king, for thy sake I am sent here by Vishṇu, for that god does not neglect the sufferings of those who are unfeignedly devoted to him."

"Nárada cheered up Purúravas, and then went with him into the presence of the king of the gods. Then he communicated the order of Vishṇu to Indra, who received it with reverent mind, and so the hermit caused Urvaśí to be given to Purúravas. That gift of Urvaśí deprived the inhabitants of heaven of life, but it was to Urvaśí herself an elixir to restore her to life."

"Purúravas returned with her to the earth, exhibiting to the eyes of mortals the wonderful spectacle of a heavenly bride. Thenceforth those two, Urvaśí and that king, remained, so to speak, fastened together by the leash of gazing on one another, so that they were unable to separate."

"One day Purúravas went to heaven, invited by Indra to assist him, as a war had arisen between him and the Dánavas. In that war the king of the Asuras, named Máyádhara, was slain, and accordingly Indra held a great feast, at which all the nymphs of heaven displayed their skill. And on that occasion Purúravas, when he saw the nymph Rambhá performing a dramatic dance called chalita, with the teacher Tumburu standing by her, laughed."

"I suppose, mortal, you know this heavenly dance, do you not?"

"From associating with Urvaśí, I knew dances which even your teacher Tumburu does not know."

"Mayest thou be separated from Urvaśí until thou propitiate Kṛishṇa."

"When he heard that curse, Purúravas went and told Urvaśí what had happened to him, which was terrible as “a thunderbolt from the blue.” Immediately some Gandharvas swooped down, without the king’s seeing them, and carried off Urvaśí, whither he knew not. Then Purúravas, knowing that the calamity was due to that curse, went and performed penance to appease Vishṇu in the hermitage of Badariká."

"But Urvaśí, remaining in the country of the Gandharvas, afflicted at her separation, was as void of sense as if she had been dead, asleep, or a mere picture. She kept herself alive with hoping for the end of the curse, but it is wonderful that she did not lose her hold on life, while she remained like the female chakraváka during the night, the appointed time of her separation from the male bird. And Purúravas propitiated Vishṇu by that penance, and, owing to Vishṇu’s having been gratified, the Gandharvas surrendered Urvaśí to him. So that king, re-united to the nymph whom he had recovered at the termination of the curse, enjoyed heavenly pleasures, though living upon earth."

"The practice of Ekadashi [[Eleventh Lunar Days of every month] by the king [Rukmangada] and his people throughout his kingdom made the inhabitants healthy and long-lived. In order to break the pious practice of Ekadashi, Brahma sent an enchantress Mohini, who won Rukmangada's affection."

"The king [Rukmangada] forgot his responsibilities as a ruler and spent his time with Mohini. He obeyed her wishes in all respects except one, and that was in breaking the Ekadashi fast. Mohini forced him repeatedly, in desperation the king agreed to grant any wish of hers except the breaking of his fast. Mohini angrily demanded the head of his son. Rukmangada's son readily agreed to keep the word of his father and put his head on the block. In the nick of time Vishnu appeared and saved Rukmangada's son. He blessed the king and all the inhabitants of his kingdom."

"According to Skanda Purana and Kamba Ramayana from the union of Shiva and Mohini a child named Shasta was born. In Kerala there is a sacred mountain named Sabarimala on which there is a very ancient temple of Shasta (Ayyappa)"

"Manohar Laxman Varadpande in: Mythology of Vishnu and His Incarnations, Gyan Publishing House, 2009, p. 170."

"Mohini's clothes and hairstyle are of a woman though the image is identified as Vishnu, the male householder form of God. The parrot and lotus flower in his hand indicates his close association with Kama, the god of love. Mohini is the female form of Vishnu."

"Mohini is the female form of Vishnu. She is an enchantress, an alluring damsel, a temptress. But she is not a nymph, or Apsara, such as Menaka, Rambha and Urvashi, renowned in Hindu mythology for their ability to seduce sages and demons. Mohini stands apart because she is identified as Vishnu and Vishnu is conventionally visualized as a male. Mohini is his female form."

"A fundamental theme in Indian metaphysics is the existence of two realities: material reality and spiritual reality. Material reality is tangible reality that can be perceived through the senses. An Apsara enchants to distract humanity from spiritual reality and entrap all in material reality. Mohini enchants ..."

"Material reality is represented using female form while spiritual reality is represented using male form. Mohini is female in form but male in essence, unlike Apsaras who are totally female. Both enchant, but their intentions are different."

"In the tangible world, Vishnu is both Mohan, the deluder, as well as Mohini, the enchantress."

"Shiva needs to open his eyes to material reality. He needs to be seduced And so, Vishnu takes the form of an enchantress. He becomes Mohini and dances before Shiva. Shiva is compelled to open his eyes and look at Mohini. He recognises Mohini is Vishnu. She is spiritual reality cloaked in material reality. She is Vishnu playing with Prakriti and Maya. She is Vishnu in full control of time and space and subjective realities. Immersed in Brahman, she is inviting spiritual reality to enter her playground, rangabhoomi, and join the game of material reality, theleela."

"Vishnu takes the form of Mohini and appears before the Devas and the Asuras. She is so beautiful that everyone is overwhelmed with desire. It is said that Shiva, having consumed Halahal, was about to retreat to his mountains abode when he sees Mohini. From that union of Shiva and Mohini is born Hari-Hara Suta, the son of Vishnu and Shiva, a child who possesses the ascetic qualities of Shiva , hence refuses to marry, as well as the warrior qualities of Vishnu, hence is ever willing to defend the society. In Tamil Nadu this warrior is called Aiyanar."

"At first glance, this story of how Mohini tricks the Asuras and gives the Amrita to the Devas seems like a trickster story. The demons are duped by a damsel. Since the Asuras are villains, one is told, they deserve being cheated so. But this is a simplistic and incorrect understanding of the tale. One must remember that the Devas and Asuras are half brothers, children of Brahma who, like Vishnu, is a form of God."

"Devas are afraid losing what they have. Asuras are afraid of not having what Devas possess. Mohini chooses to give Amrita [nectar] only to the distracted Devas not because they are more worthy but to show how even taking away the fear of death of losing what they have does not take away fear of losing material things."

"The conflict within material reality, presided over by Vishnu, also manifests as the conflict between the Nagas and Garuda, the serpents and the king of the hawks."

"Conflict between two forces [Devas and Asuras] is a recurring theme in Hindu mythology. One conflict is that between material and spiritual reality, between the hermit and the nymph between Shiva and Mohini. The other is within material reality, between the Devas and the Asuras."

"Bhasmasura was a wicked and greedy person. He wanted to be a powerful king. But he was neither strong nor brave. He knew he could not wage wars or defeat other kings. Bhasmasura, therefore, wished to obtain some magic powers. He decided to worship Lord Shiva and ask for such powers. Bhasmasura went to a dense jungle. There, he selected a quiet place under a huge tree and settled down to worship Shiva. His prayer lasted a long time. At last, Lord Shiva appeared before Bhasmasura."

"I am greatly pleased with you. What can I do for you?"

"O Lord I only want your blessings. There is no other purpose behind my devotion to you."

"You have my blessings. You would surely like to receive something from me as a gift. It is yours for the asking."

"Then, my Lord, let me have the power that I ask for. By that power, anybody whose head I touch with my right hand should be reduced to ashes."

"I hereby grant you that power. Anybody whose head you touch with your right hand will die and be reduced to ashes."

"Bhasmasura laughed. He was happy with the magic power he had received from Shiva."

"My Lord, you must now allow me to test the power you have given me."

"So Shiva ran for his life. Bhasmasura ran after Shiva. Shiva ran over hills and mountains, crossed rivers and passed through thick jungles. But Bhasmasura was close behind him, with his right hand raised ready to touch Shiva and reduce him to ashes. Shiva needed help....Shiva prayed to Lord Vishnu to save his life. Vishnu appeared before him."

"You just hide here for some time. I shall deal with Bhasmasura."

"In a second Vishnu changed his form. He became Mohini, the most beautiful of woman."

"Did you see Shiva running this way? He was just in front of me. But then he somehow suddenly disappeared Where did he go?"

"My Lord, you look tired. Take a little rest before you start chasing Shiva again. Sit her in the cool shade. I shall fan you. Then you will feel better."

"Bhasmasura looked at Mohini. She was so beautiful that he fell in love with her immediately."

"Who are you?How did you come here?"

"I am Mohini. I live in this jungle with my parents. We always help those who pass this way You look hungry. Can I go and bring some fruits for you?"

"No, don’t go away from me. Your presence is the best food for me. I love you Mohini. Will you marry me?"

"How can I marry You may have a number of wives already."

"You are wrong, I have no wife. You will be my only wife."

"All right then please swear that you will not take another wife."

"I swear that I will not take another wife, if you marry me."

"That is not swearing. Take the solemn oath, touching your head with your right hand. Then I will marry you."

"Bhasmasura rose up and touched his head with his right hand."

"The moment Bhasmasura touched his head, he was reduced to ashes. Bhasmasura was no more. Shiva came out of his hiding place and looked at Mohini. He was grateful to her and embraced her. In a flash, Mohini vanished, smiling at Shiva, and in her place stood Lord Vishnu."

"At no point do Devas forget that Mohini is Vishnu. The word Mohini, meaning delusion personified, comes from the root ‘moha'—“enchantment”. A weak and unenlightened mind, embodied in the Daitya, fails to discover the truth of Vishnu and is seduced by Mohini. Thus another attribute of Hindu demons in their inability to recognize the divine. This the scriptures, state. Their subterranean abode is even farther away- when compared to the world of humans – from the celestial realms of knowledge and truth."

"Together they [Devas and Asuras] set up a giant churn, using Meru, king of the mountains, as the spindle and Vasuki, king of the serpents, as the churning rope. Garuda, king of the birds and Vishnu's mount carried the churn to the ocean. It would have sunk but at the crucial moment, Akupara, king of the turtles and an incarnation of Vishnu, came to the rescue. He held the churn on his mighty back. The Daityas then caught the head end of the serpent king while the Adityas caught the neck end of the serpent king and began churning."

"The churning went on for eons. Finally, the milky ocean coagulated .and revealed its secrets...at long lost emerged a pot containing the elixir of immortality – Amrita. The Daityas grabbed the pot and ran away. The Adityas appealed to Vishnu, who took the form of the celestial enchantress."

"Mohini and approached the Daityas, titillating them with her sensuous walk. “May I serve the divine liquid,” she asked flirtatiously. The Asuras, bewitched by beauty, could not refuse. They gave her the pot. So besotted were they by her sultry smile and her voluptuous figure that they failed to notice she was distributing the Amrita amongst the Adityas. The Daitya Rahu suspected the intentions of this damsel and sat amongst the Adityas as one of them. Just as he was about to take a sip of the elixir, the sun and the moon recognized him and alerted Mohini."

"She hurled a discus, cut Rahu's throat, and prevented the divine liquid from entering the Daitya's body. The other Daityas realized Vishnu had duped them. They declared war on the Adityas. Led by Vishnu, the Adityas drove the Daityas to the nether realms. The laying claim over all the treasures that emerged from the ocean of milk, the Adityas rose to the celestial realm where they set up their city, Amravati, the city of the immortals."

"A group of sages performed rituals in the forest and believed themselves to be as powerful as the gods. To humble them, Shiva and Vishnu entered this forest in the guise of a handsome beggar called Bhikshatan and a beautiful maid called Mohini. The sages and their wives saw the couple and were overwhelmed with desire. The men ran after Mohini while the women chased Bhikshatan. Some time later, they regained control of their senses and held Bhikshatan and Mohini responsible for the momentary lapse in their reason. Using their magic powers, they drew out of fire, a serpent, a lion, an elephant, and a goblin. Shiva picked up the serpent and wound it round his neck. He flayed the lion and the elephant and wrapped their skins round his body. He then jumped on the goblins' back and began to dance, displaying his divine splendor. The sages watched and realized their folly."

"When Vishnu transformed into Mohini, the celestial enchantress, Shiva was so overwhelmed with desire that he abandoned his consort Parvati and ran after Mohini until he had shed his seed. From this seed was born the mighty monkey god Hanuman, who the gods decreed would vanquish demons and even death. As foretold Hanuman helped Rama rescue his wife Sita from the clutches of the Rakshasa king Ravana."

"During the Brahmotsavam festivities, when Vishnu's image is bedecked as Mohini, the devotee is presented with the female form of the lord, the incarnation that enchants and deludes the greedy power hungry Asuras and the egotistical sages. The devotee is exhorted to look beyond the appearances that delude (Mohini) into the reality that liberates (Vishnu)."

"Mohini is the family deity of Gauda Saraswat Brahmins, who refer to her as “Shri Mahalasa Narayani”. Though the deity is viewed as female and is worshipped as a manifestation of the mother goddess, the devotee is constantly reminded that the goddess is in essence a form of Vishnu."

"So many a Season rolled away, When Menaká, fair nymph, one day Came down from Paradise to lave Her perfect limbs in Pushkar's wave, The glorious son of Kus'ik saw That peerless shape without a flaw Flash through the flood's translucent shroud Like lightning gleaning through a cloud. He saw her in that lone retreat, Most beautiful from head to feet, And by Kandarpas might subdued He thus addressed her as he viewed: 'Welcome, sweet nymph! O deign, I pray, In these calm shades awhile to stay. To me some gracious favour show, For love has set my breast aglow."

"He spoke. The fairest of the fair Made for awhile her dwelling there, While day by day the wild delight Stayed vow austere and fervent rite There as the winsome charmer wove Her spells around him in the grove, And bound him in a golden chain, Five sweet years fled, and five again. Then Vis'vámitra woke to shame, And, fraught with anguish, memory came For quick he knew, with anger fired, That all the Immortals had conspired"

"To lap his careless soul in ease, And mar his long austerities. 'Ten years have past, each day and night Unheeded in delusive flight. So long my fervent rites were stayed, While thus I lay by love betrayed.' As thus long sighs the hermit heaved, And, touched with deep repentance, grieved, He saw the fair one standing nigh With suppliant hands and trembling eye. With gentle words he bade her go, Then sought the northern hills of snow. With firm resolve he vowed to beat The might of love beneath his feet. Still northward to the distant side Of Kaus'ikí, the hermit hide, And gave his life to penance there With rites austere most hard to bear."

"And Sakra, thus addressed by her, then commanded him who could approach every place (viz., the god of the wind) to be present with Menaka at the time she would be before the Rishi. And the timid and beautiful Menaka then entered the retreat and saw there Viswamitra who had burnt, by his penances, all his sins, and was engaged still in ascetic penances."

"Saluting the Rishi, she then began to sport before him. And just at that time Marut [Wind] robbed her of her garments that were white as the Moon. And she thereupon ran, as if in great bashfulness, to catch hold of her attire, and as if she was exceedingly annoyed with Marut. And she did all this before the very eyes of Viswamitra who was endued with energy like that of fire. And Viswamitra saw her in that attitude. And beholding her divested of her robes, he saw that she was of faultless feature."

"Viswamitra best of Munis saw that she was exceedingly beautiful, with no marks of age on her person. And beholding her beauty and accomplishments that bull amongst Rishis was possessed with lust and made a sign that he desired her companionship. And he invited her accordingly, and she also of faultless features expressed her acceptance of the invitation. And they then passed a long time there in each other's company."

"Sporting with each other, just as they pleased, for a long time as if it were only a single day, the Rishi begat on Menaka a daughter named Shakuntala. And Menaka (as her conception advanced) went to the banks of the river Malini coursing along a valley of the charming mountains of Himavat. And there she gave birth to that daughter. And she left the new-born infant on the bank of that river and went away."

"Beholding the new-born infant lying in that forest destitute of human beings but abounding with lions and tigers, a number of vultures sat around to protect it from harm. No Rakshasas or carnivorous animals took its life. Those vultures protected the daughter of Menaka. I went there to perform my ablution and beheld the infant lying in the solitude of the wilderness surrounded by vultures. Bringing her hither I have made her my daughter. Indeed, the maker of the body, the protector of life, the giver of food, are all three, fathers in their order, according to the scriptures."

"...a great Rishi called Sthulakesa possessed of ascetic power and learning and kindly disposed towards all creatures. At that time, Brahmana sage, Viswavasu, the King of the Gandharvas, Menaka, the celestial dancing-girl and the Apsara, Menaka, brought forth an infant near the hermitage of Sthulakesa."

"Menaka dropped the newborn infant on the banks of the river. She, being destitute of pity and shame, went away. And the Rishi, Sthulakesa discovered the infant lying forsaken in a lonely part of the river-side. It was a female child."

"Sthulakesa, filled with compassion, took it up and reared it. And the lovely child grew up in his holy habitation. Rishi Sthulakesa performed in due succession all the ceremonies beginning with that at birth as ordained by the divine law. And because she surpassed in goodness, beauty, and every quality, the great Rishi called her by the name of Pramadvara."

"Thou, O Menaka, art the first of celestial Apsaras...My heart is trembling with fear. Indeed, O slender-waisted Menaka, this is thy business...you must see that Viswamitra of soul rapt in contemplation and engaged in the austerest penances, who might hurl me down from my seat. Go and tempt him and frustrating his continued austerities accomplish my good."

"And the timid and beautiful Menaka then entered the retreat and saw there Viswamitra who had burnt, by his penances, all his sins.... And beholding her beauty and accomplishments that bull amongst Rishis was possessed with lust and made a sign that he desired her companionship..."

"And they then passed a long time there in each other's company. And sporting with each other, just as they pleased, for a long time as if it were only a single day, the Rishi begat on Menaka a daughter named Shakuntala. And Menaka went to the banks of the river Malini...And there she gave birth to that daughter. And she left the new-born infant on the bank of that river and went away."

"King: The sage Kanwa lives in the constant practice of austerities. How, then, can this friend of yours [Shakuntala] be called his daughter?"

"Anasúyá: I will explain to you. Sir. You have heard of an illustrious sage of regal caste, [[w:Vishwamitra|Vishwámitra, whose family name is Kaushika....Know that he is the real father of our friend. The venerable Kanwa is only her reputed father. He it was who brought her up, when she was deserted by her mother."

"King: 'Deserted by her mother!' My curiosity is excited; pray let me hear the story from the beginning."

"Anasúyá: You shall hear it, Sir. Some time since, this sage of regal caste, while performing a most severe penance on the banks of the river Godavari, excited the jealousy and alarm of the gods; insomuch that they despatched a lovely nymph named Menaká to interrupt his devotions.... You shall hear it, Sir. Some time since, this sage of regal caste, while performing a most severe penance on the banks of the river Godávarí, excited the jealousy and alarm of the gods; insomuch that they despatched a lovely nymph named Menaká to interrupt his devotions...."

"King: The rest may be easily divined. Shakoontalá, then, is the offspring of the nymph....It is quite intelligible. How would a mortal to such charms give birth? The lightning's radiance flashes not from earth. And so my desire has really scope for its indulgence. Yet I am still distracted by doubts, remembering the pleasantry of her female companions respecting her wish for a husband....I am so eager to hear the particulars of your friend's history, that I have still another question to ask."

"[Menaka] An apsara who attracted the rishi Vishvamitra. From her, Shakuntala was born. With the Gandharva king Vishavasu she was the mother of Mramadavara. She is considered the foremost of apsaras."

"Pramadvara was an apsara whose story is described in ancient texts. She was the daughter of Menaka and Vishvavasu. Menaka left her near the ashram of the rishi Sthulakesha who brought her up."

"When Vishvamitra undertook severe austerities to become a rishi, the gods were afraid of his power, and sent the apsara Menaka to seduce him. She succeeded, and a daughter Shakuntala was born. Vishvamitra then realized his error and sent Menaka away."

"Meanwhile, Krodh and Himsa also produced a horrible daughter who was as horrendous as Kali had been. She established union with Kali to produce deadly son called Bhayanak and a daughter called Mrityu (death)."

"From those two Lobha [Greed] and Nikrita [Cunning] were born, oh great soul. And from the both of them there were Krodha [Anger] and Himsâ [Malice]. From these two [irreligiously being bound in incest] Kali and the sister called Durukti [Harsh Speech] were born. Oh best of the truthful, bound to Durukti Kali produced Bhaya [Fearfulness] and Mrityu [Death] and of those two combined Yâtanâ [Excessive Pain] and Niraya [Hell] took birth."

"In the Kali Yuga, demons take birth in the families of Brahmins."

"My oath is not for myself. My dharma is far beyond my own selfishness and more important than your life. Forgive me for what has happened if you can. You may remain here in our city for the rest of your life and your every comfort will be seen to. But as for marrying you, Amba, that I cannot do."

"I will never have children. I am incapable of having children now. Does this satisfy you?"

""Bhishma said: That man who wishes to increase his own flesh by the meat of another living creature is such that there is none meaner and more cruel than he. In this world there is nothing that is dearer to a creature than his life. Hence, one should show mercy to the lives of others as he does to his own life. Forsooth, O son, flesh has its origin in the vital seed. There is great sin attached to its eating, as, indeed, there is merit in abstaining from it."

""Hence a person of purified soul should be merciful to all living creatures. That man, O king, who abstains from every kind of meat from his birth forsooth, acquires a large space in the celestial region. They who eat the flesh of animals who are desirous of life, are themselves [later] eaten by the animals they eat. This is my opinion. Since he has eaten me, I shall eat him in return. This, O Bharata, forms the character as Mamsah [meaning flesh] of Mamsah [me he, or "me he" will eat for having eaten him]. The destroyer is always slain. After him the eater meets with the same fate."

"Abstention from cruelty is the highest Religion. Abstention from cruelty is the greatest self-restraint. Abstention from cruelty is the highest gift. Abstention from cruelty is the highest penance. Abstention from cruelty is the highest sacrifice. Abstention from cruelty is the highest power. Abstention from cruelty is the greatest friend. Abstention from cruelty is the greatest happiness."

"They called him Bhishma, one who was terribly harsh on himself, without anyone forcing him to take such a step."

"Krishna was meditating, when Yudhishtra approached Him and asked Him of whom He was thinking. The Lord replied that He was thinking of Bhishma, the best of His devotees, and the one who was always thinking of Him. How great should a person be to have himself described in such glowing terms by the Lord Himself!"

"Bhishma mistook Draupadi for Bhanumati. He blessed her and said she would not be widowed. Then Draupadi lifted her veil, and Bhishma realised that Krishna was behind the trick. Bhishma said that he did penance to make the Kauravas win, but dharma would always prevail in the end. Krishna would ensure this."

"Without doubt, the beautiful and large-eyed mother of Lakshmana, made sonless and husbandless, will soon meet with her death!"

"Once on a time, O monarch, many kings repaired to a self-choice at the capital of Chitrangada, the ruler of the country of the Kalingas. The city, O Bharata, full of opulence, was known by the name of Rajapura. Hundreds of rulers repaired thither for obtaining the hand of the maiden. Hearing that diverse kings had assembled there, Duryodhana also, on his golden car, proceeded thither, accompanied by Karna. When the festivities commenced in that self-choice, diverse rulers, O best of kings, came thither for the hand of the maiden. There were amongst them Sisupala and Jarasandha and Bhishmaka and Vakra, and Kapotaroman and Nila and Rukmi of steady prowess, and Sringa who was ruler of the kingdom females, and Asoka and Satadhanwan and the heroic ruler of the Bhojas. Besides these, many others who dwelt in the countries of the South, and many preceptors (in arms) of the mlechcha tribes, and many rulers from the East and the North, O Bharata, came there. All of them were adorned with golden Angadas, and possessed of the splendour of pure gold. Of effulgent bodies, they were like tigers of fierce might. After all those kings had taken their seats, O Bharata, the maiden entered the arena, accompanied by her nurse and a guard of eunuchs. Whilst being informed of the names of the kings (as she made her round), that maiden of the fairest complexion passed by the son of Dhritarashtra (as she had passed others before him). Duryodhana, however, of Kuru's race, could not tolerate that rejection of himself. Disregarding all the kings, he commanded the maiden to stop. Intoxicated with the pride of energy, and relying upon Bhishma and Drona, king Duryodhana, taking up that maiden on his car, abducted her with force. Armed with sword, clad in mail, and his fingers cased in leathern fences, Karna, that foremost of all wielders of weapons riding on his car, proceeded along Duryodhana's rear. A great uproar then took place among the kings, all of whom were actuated by the desire for fight, 'Put on your coats of mail! Let the cars be made ready!' (These were the sounds that were heard). Filled with wrath, they pursued Karna and Duryodhana, showering their arrows upon them like masses of clouds pouring rain upon a couple of hills. As they thus pursued them, Karna felled their bows and arrows on the ground, each with a single arrow. Amongst them some became bowless, some rushed bow in hand, some were on the point of shooting their shafts, and some pursued them, armed with darts and maces. Possessed of great lightness of hands, Karna, that foremost of all smiters, afflicted them all. He deprived many kings of their drivers and thus vanquished all those lords of earth. They then themselves took up the reins of their steeds, and saying, 'Go away, go away', turned away from the battle with cheerless hearts. Protected by Karna, Duryodhana also came away, with a joyous heart, bringing with him the maiden to the city called after the elephant."

"Behold, that lady of faultless limbs and slender waist, seeing this terrible carnage, falleth down, overwhelmed with grief. Beholding this princess, this mother of Lakshmana, O thou of mighty arms, my heart is torn with grief."

"Act II opens with an ominous dream of Bhānumatī, Duryodhana's queen; an ichneumon (nakula) has slain a hundred serpents; it is a presage that the Pāṇḍavas—of whom Nakula is one—will slay the hundred Kauravas."

"With woman there can be no lasting friendship: hearts of hyenas are the hearts of women."

"A virtuous wife should constantly serve her husband like a god, even if he behaves badly freely indulges his lust, and is devoid of any good qualities."

"Where women are honoured there the gods delight, where they are not honoured there all acts become fruitless."

"...When her father, or her brother with her father's permission, gives her to someone, she should obey that man while he is alive and not violate her vow to him when he is dead..."

"This is proven by the fact that in the Vedic period their women were not placed apart from men in penetralia, or "Zenanas." Their seclusion began when the Mahomedans -- the next heirs to Hebrew symbolism after Christian ecclesiasticism -- had conquered the land and gradually enforced their ways and customs upon the Hindus. The pre- and post-Vedic woman was as free as man; and no impure terrestrial thought was ever mixed with the religious symbology of the early Aryans."

"He took the rotundity of the moon, and the curves of creepers, and the clinging of tendrils, and the trembling of grass, and the slenderness of the reed, and the bloom of flowers, and the lightness of leaves, and the tapering of the elephant’s trunk, and the glances of deer, and the clustering of rows of bees, and the joyous gaiety of sunbeams, and the weeping of clouds, and the fickleness of the winds, and the timidity of the hare, and the vanity of the peacock, and the softness of the parrot’s bosom, and the hardness of adamant, and the sweetness of honey, and the cruelty of the tiger, and the warm glow of fire, and the coldness of snow, and the chattering of jays, and the cooing of the kokila, and the hypocrisy of the crane, and the fidelity of the chakravaka; and compounding all these together he made woman, and gave her to man."

"Nevertheless, despite all this equipment, woman fared poorly in India. Her high status in Vedic days was lost under priestly influence and Mohammedan example. The Code of Manu set the tone against her in phrases reminiscent of an early stage in Christian theology... Doubtless the influx of Islamic ideas had something to do with the decline in the status of woman in India after Vedic days. The custom of purdah (curtain)—the seclusion of married women—came into India with the Persians and the Mohammedans, and has therefore been stronger in the north than in the south. Partly to protect their wives from the Moslems, Hindu husbands developed a system of purdah so rigid that a respectable woman could show herself only to her husband and her sons, and could move in public only under a heavy veil; even the doctor who treated her and took her pulse had to do so through a curtain."

"It will seem incredible to the provincial mind that the same people that tolerated such institutions as child marriage, temple prostitution and suttee was also pre-eminent in gentleness, decency and courtesy. Aside from a few devadasis, prostitutes were rare in India, and sexual propriety was exceptionally high. “It must be admitted,” says the unsympathetic Dubois, “that the laws of etiquette and social politeness are much more clearly laid down, and much better observed by all classes of Hindus, even by the lowest, than they are by people of corresponding social position in Europe.” ... A Hindu woman might go anywhere in public without fear of molestation or insult; indeed the risk, as the Oriental saw the matter, was all on the other side. Manu warns men: “Woman is by nature ever inclined to tempt man; hence a man should not sit in a secluded place even with his nearest female relative”; and he must never look higher than the ankles of a passing girl."

"Marriage might be entered into by forcible abduction of the bride, by purchase of her, or by mutual consent. Marriage by consent, however, was considered slightly disreputable; women thought it more honorable to be bought and paid for, and a great compliment to be stolen. Polygamy was permitted, and was encouraged among the great; it was an act of merit to support several wives, and to transmit ability. The story of Draupadi, who married five brothers at once, indicates the occasional occurrence, in Epic days, of that strange polyandry the marriage of one woman to several men, usually brothers which survived in Ceylon till 1859, and still lingers in the mountain villages of Tibet. But polygamy was usually the privilege of the male, who ruled the Aryan household with patriarchal omnipotence. He held the right of ownership over his wives and his children, and might in certain cases sell them or cast them out."

"Nevertheless, woman enjoyed far greater freedom in the Vedic period than in later India. She had more to say in the choice of her mate than the forms of marriage might suggest. She appeared freely at feasts and dances, and joined with men in religious sacrifice. She could study, and might, like Gargi, engage in philosophic disputation. If she was left a widow there were no restrictions upon her remarriage. In the Heroic Age woman seems to have lost something of this liberty. She was discouraged from mental pursuits, on the ground that "for a woman to study the Vedas indicates confusion in the realm;" the remarriage of widows became uncommon; purdah the seclusion of women began; and the practice of suttee, almost unknown in Vedic times, increased. The ideal woman was now typified in the heroine of the Ramayana that faithful Sita who follows and obeys her husband humbly, through every test of fidelity and courage, until her death."

"...in fact, some of the Vedic hymns were written and doubtlessly also chanted by women... In the Arya Samaj, girls get the complete Vedic initiation, as apparently they used to in the Vedic Age itself."

"Padmini Sengupta has written in her book, Everyday Life in Ancient India: "The position of women in ancient India was free and emancipated, and women were well educated and respected members of society. A wife shared all her husband's privileges and was his companion and help-mate in his activities." The position of women was far better than in other countries of ancient times. How else could it be in a culture which placed the Mother before the Father in priority for reverence? Matr devo bhava - was the first Upanisadic exhortation to the young. So far as we know, Hinduism is the only religion whose symbolism places the Feminine on a par with the Masculine in the profound concept of Siva-Sakti culminating in the image of Ardharnari-Isvara. The Hindu has honored his country as his Motherland - Bharat Mata and his nationalism has grown up from the seed Mantra - Vande Mataram."

"For about three thousand years, the women – and only the women – of Mithila have been making devotional paintings of the gods and goddesses of the Hindu pantheon. It is no exaggeration, then, to say that this art is the expression of the most genuine aspect of Indian civilization."

"In Sanskrit more than in any other language women poets have at all times been held in high honour. Apart from quotations in well-known anthologies, many notable works by women poets of earlier time have come down to us."

"Education for girls was regarded as quite important. While Brahmin girls were taught Vedic wisdom, girls of the Ksatriya community were taught the use of the bow and arrow. The Barhut sculptures represent skilful horsewomen in the army. Patanjali mentions the spearbearers (saktikis). Megasthenes speaks of Chandragupta's bodyguard of Amazonian women. Kautilya mentions women archers (striganaih dhanvibhih). In houses as well as in the forest Universities of India, boys and girls were educated together. Atreyi studied under Valmiki along with Lava and Kusa, the sons of Rama. Fine arts like music, dancing and painting was specially encouraged in the case of girls."

"And that cow which yielded the fast-milk for the (Sacrificer's) wife he gives to the chanters, for it is they, the Udgatris, that do, as it were ,the wife's work on this occasion: therefore he gives it to the chanters."

"Hindu dharma reverenced women; therefore, it had no difficulty in conceiving Goddesses. Hindus also learnt to give their women the honour they gave to their deities. Hindu lawgivers taught that women must be honoured by their fathers, brothers, husbands and brothers-in-law, who desire their own welfare; that Gods are pleased where women are honoured, but where they are not honoured sacred rites yield no rewards."

"to the women of this country... I would say exactly what I say to the men. Believe in India and in our Indian faith. Be strong and hopeful and unashamed, and remember that with something to take, Hindus have immeasurably more to give than any other people in the world."

"The next idea of the Aryans is the freedom of women. It is in the Aryan literature that we find women in ancient times taking the same share as men, and in no other literature of the world."

"And it may be confidently asserted that in no nation of antiquity were women held in so much esteem as amongst the Hindus."

"Where women are honored there the gods are pleased; but where they are not honored no sacred rite yields rewards," declares Manu Smriti (III.56) a text on social conduct. "Women must be honored and adorned by their fathers, brothers, husbands and brothers-in-law, who desire their own welfare." (Manu Smriti III, 55) " Where the female relations live in grief, the family soon wholly perishes; but that family where they are not unhappy ever prospers." (Manu Smriti III, 57). "The houses on which female relations, not being duly honored, pronounce a curse, perish completely as if destroyed by magic." (Manu Smriti III, 58) " Hence men who seek their own welfare, should always honor women on holidays and festivals with gifts of ornaments, clothes, and dainty food." (Manu Smriti III, 59) In an old Shakta hymn it is said - Striyah devah, Striyah pranah "Women are Devas, women are life itself."

"The real place of women is the house and she has been exempted from outdoor duties…She has however been allowed to go out of the house to fulfil her genuine needs, but whilst going out she must observe complete modesty. Neither should she wear glamorous clothes and attract attention, nor should she cherish the desire to display the charms of the face and the hand, nor should she walk in a manner which may attract attention of others. Moreover she should not speak to them without necessity, and if she has to speak she should not speak in a sweet and soft voice."

"Translation from Urdu:".. I asked them where has your veil gone/They said that it is covering the intellect of men. ..""

"But far from achieving the purpose, purdah has adversely affected the mortals of Muslim men. Owing to purdah, a Muslim man has no contact with any woman outside those who belong to his own household. Even with them, his contact extends only to occasional conversation... For a male, there is no company of, and no commingling with, the females, except those who are children or aged. This isolation of the males from females is sure to produce bad effects on the morals of men. It requires no psychoanalyst to say that a social system which cuts off all contacts between the two sexes produces an unhealthy tendency towards sexual excesses and unnatural and other morbid habits and ways."