Vidya

The frightened dove flew directly towards King Shibi and dropped into his lap, trembling for its life. In that instant, the king was confronted with a question far greater than the fate of a single bird. A helpless creature had sought his protection, yet the predator pursuing it was also acting according to the laws of nature.

Vaivasvata Manu, the son of Vivasvan, was renowned for his austerity and righteousness. He had withdrawn himself from ordinary pleasures and devoted his mind to severe penance. His life was governed by discipline, restraint and contemplation, and he possessed the calm that comes from years spent mastering one’s senses.

When Damayanti awoke and discovered that Nala was gone, disbelief quickly gave way to anguish. She called his name again and again, expecting that he might be nearby or that he would answer from beyond the trees. No reply came. As she searched the ground, she realised that the cloth they had shared had been cut in two. One half remained with her, while Nala had taken the other. The meaning was unmistakable. He had left her alone in the wilderness.

The episode forms part of the Nalopakhyana, the celebrated story of Nala and Damayanti narrated in the Vana Parva of the Mahabharata. What appears at first to be a frightening encounter with a serpent becomes one of the story’s most remarkable examples of misfortune concealing divine purpose.

A flock of magnificent swans descended before Nala. Their wings gleamed with a golden radiance. Among them was one remarkable bird that would soon become the messenger through whom two distant hearts found one another. The episode appears in the Nalopakhyana, the celebrated story of Nala and Damayanti narrated in the Vana Parva of the Mahabharata.

In a quiet forest, King Pandu raised his bow against what appeared to be a pair of deer. The arrows he released would strike far beyond their visible target. From that moment came a terrible curse, the renunciation of a king, the unusual birth of the Pandavas and one of the great turning points in the Mahabharata.

The Mahabharata describes Bharata overpowering lions, tigers, elephants, buffaloes and other wild animals and even binding them to trees, while the specific scene in which he attempts to count the teeth of a lion cub appears more explicitly in Kalidasa’s later drama Abhijnanashakuntalam. Kalidasa’s scene is therefore a vivid dramatic development of the extraordinary childhood already described in the Mahabharata.

Adrika belonged to the radiant company of celestial maidens who danced in the courts of the gods. Her beauty was like moonlight upon moving water, and her laughter was said to resemble the music of silver bells.