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Buddhism Goes to the Movies Introduction to Buddhist
Thought and Practice 1st Edition Ronald Green Digital
Instant Download
Author(s): Ronald Green
ISBN(s): 9780415841481, 0415841488
Edition: 1
File Details: PDF, 2.02 MB
Year: 2013
Language: english
BUDDHISM GOES
TO THE MOVIES

Buddhism Goes to the Movies: An Introduction to Buddhist Thought and Practice explains
the basics of Buddhist philosophy and practice through a number of dramatic
films from around the world. This book introduces readers in a dynamic way
to the major traditions of Buddhism: the Theravāda, and various interrelated
Mahāyāna divisions including Zen, Pure Land, and Tantric Buddhism. Students
can use Ronald Green’s book to gain insights into classic Buddhist themes, includ-
ing Buddhist awakening, the importance of the theory of dependent origination,
the notion of no-self, and Buddhist ideas about life, death, and why we are here.
Contemporary developments are also explored, including the Socially Engaged
Buddhism demonstrated by such figures as the Dalai Lama, Thich Nhat Hanh,
Aung San Suu Kyi, and other Buddhist activists. Finally, comparisons between
filmic expressions of Buddhism and more traditional artistic expressions of
Buddhism—such as mandala drawings—are also drawn.

Ronald S. Green is Assistant Professor of Religious Studies at Coastal Carolina

University.
This page intentionally left blank
BUDDHISM GOES
TO THE MOVIES
An Introduction to Buddhist
Thought and Practice

Ronald S. Green
Coastal Carolina University
First edition published 2014
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2014 Taylor & Francis
The right of Ronald S. Green to be identified as author of this work
has been asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilized in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Green, Ronald S.
Buddhism goes to the movies : an introduction to Buddhist thought
and practice / Ronald S. Green.
pages cm
Includes bibliographical references and index.
1. Buddhism in motion pictures. I. Title.
PN1995.9.B795G74 2014
791.43′682943—dc23
2013022179

ISBN: 978-0-415-84146-7 (hbk)

ISBN: 978-0-415-84148-1 (pbk)
ISBN: 978-0-203-76569-2 (ebk)
Typeset in Bembo
by Apex CoVantage, LLC
This volume is dedicated to the many students, family members,
and friends who have contributed and inspired ideas on these
films. To mention a few, these include Jacob Beaver, Michael
Dorman, Mary Green, Martha Kapek, Zack Moran, Emily Schrag,
and Jake Sheehan. I wish to express my thanks to all of those at
Coastal Carolina University who allowed and encouraged me to
teach this subject.
This page intentionally left blank
CONTENTS

List of Figures ix
Preface xi
Introduction xiii

1 Early Representations: Broken Blossoms and Lost Horizon 1

2 The Four Noble Truths: Fight Club 13

3 Buddhist Awakening: Waking Life 30

4 Dependent Origination: I Heart Huckabees 43

5 Korean Seon Buddhism: Why Has Bodhi-Dharma

Left for the East? 56

6 Theravāda Buddhism, Socially Engaged Buddhism:

The Burmese Harp 70

7 Tibetan Buddhism: The Cup 82

8 Japanese Shin Buddhism: Departures 94

9 The Buddhist Order of Nuns: Windhorse 106

10 Thai Buddhism in Horror Films: Nang Nak and Uncle

Boonmee Who Can Recall His Past Lives 118
viii Contents

Glossary 135
Selected List of Films with Buddhist Content 141
Bibliography 153
Index 157
LIST OF FIGURES

1.1 Theda Bara in The Soul of Buddha, 1918 3

1.2 Lillian Gish (as Lucy) and Richard Barthelmess (as Yellow Man)
in Broken Blossoms 5
1.3(a) Screenshot of first glimpse of Shangri-la in Lost Horizon 8
1.3(b) Potala Palace in Lhasa 8
2.1 Trikāya (three bodies) theory and Fight Club 28
3.1 Dream Yoga 39
3.2 The Wheel of Life 40
5.1 The Ox Herding Drawings 61
7.1 Vajra 86
7.2 Scene near the beginning of The Cup 89
This page intentionally left blank
PREFACE

This book describes the basics of Buddhist philosophy and practice within the
contexts of a number of dramatic, not documentary, films. It introduces some of the
main traditions of Buddhism, the Theravāda and various interrelated Mahāyāna
divisions including Zen, Pure Land Buddhism, and Tantric Buddhism. Little
or no knowledge of Buddhism is assumed of the reader. Instead, Buddhist con-
cepts, practices, and histories are presented in progression so that this might serve
as an introduction to Buddhism particularly accessible to those interested in film
studies or who just enjoy a good movie. Likewise, this approach may appeal to
individuals who primarily are visual learners. The book is divided into ten chap-
ters, which can easily be considered units for a quarter or semester school term.
Key terms in Buddhism appear in bold type and in the glossary. The text avoids
using foreign words except in cases where such are conventional expressions
in Buddhist Studies. Sometimes scholars leave these intentionally untranslated
because they consider English equivalents inadequate. Such words are italicized
and explanations are given. Those with more advanced knowledge of Buddhism
may enjoy the discussions of how Buddhism reshapes cinema and is reshaped
by it, how Buddhism is being used as a piece of a projection screen to criticize
society, and how the cinema compares and contrasts with earlier Buddhists’ visual
mediums such as mandala.
Currently no text exists that treats Buddhism and film in a systematic fashion.
Only a few articles have been published reviewing individual films tentatively
related to Buddhism in some ways. However, there are an increasing number of
films being made with Buddhist content. There is now a Buddhist Film Founda-
tion that holds an annual film festival in San Francisco and a “Buddhism and Film”
conference in Germany convened for the first time in 2011. The present study
seeks to shed light on the Buddhist themes in certain films. It is hardly meaningful
xii Preface

to call a film Buddhist with no qualifications. It is also misleading. In actuality, there

are many Buddhist traditions and they sometimes hold seemingly contradictory
ideas. This study introduces theories and practices of a variety of Buddhist tradi-
tions. It presents supporting information about Buddhism as portrayed in each
film considered. The focus is on contemporary fictive films that are easily accessi-
ble. Most of these have been identified as “Buddhist” by the film-makers or critics.
Each chapter begins with a short synopsis of a film and progresses to explanations
of the Buddhist elements portrayed or associated with the film.

Notes on Conventions
1. The Pinyin system is used for Chinese terms; the Korean Government
Romanization System revised in 2000, for Korean terms; and the Hepburn
system, for Japanese words.
2. Diacritics are used on most Sanskrit and Pāli terms.
3. Foreign terms, those not included in the Webster English Dictionary, appear in
italics.
INTRODUCTION

This world is the movie of what everything is,

it is one movie, made of the same stuff
throughout, belonging to nobody, which is what
everything is.
The Scripture of the Golden Eternity. Jack Kerouac (1922–1969)

If ancient Buddhists had the medium of film, might they have used it instead of or
in addition to mandala? Put another way, why use mandala when you have film?
Can film serve the same purposes as mandala? Mandala drawings of Buddhas and
Bodhisattva have been used for centuries for contemplating the attributes of
those figures, attributes such as wisdom and compassion. A practitioner might sit
in meditation in front of the mandala, using it as a tool of visualization in hopes
of incorporating those ideal traits of wisdom and compassion into his or her own
life. Do certain films fill this role today? Why or why not?
About his film Why Has Bodhi-Dharma Left for the East?, director Young-Kyun
Bae said,“I would like the audience to see the film without preconceived knowledge
or ideas.”1 Is this either possible or desirable? Doing so might require a Buddhist
way of film viewing, a mindful method of suspending judgment and letting sounds
and images flow over us. The implication is that if we can learn to do this while
viewing films, we can learn to apply the skill to daily life. Bae also said he hoped to
build a temple through his film.2 Can sacred space be created cinematically?
In the documentary Life as Cinema, Khyentse Norbu, director of The Cup
(1999), Travellers and Magicians (2003), and Vara: A Blessing (2012) speaks extensively
of the Buddhist potential of film. Tibetan Buddhist masters have bestowed upon
Norbu the title “Rinpoche,” given to respected monks in their tradition. Even
xiv Introduction

before hearing his explanations, we might wonder why a venerable Rinpoche

would make movies. Theoretically, a Tibetan Buddhist’s primary social task is
to save all sentient beings from suffering the cycles of rebirth. A Bodhisattva,
a Buddhist dedicated to awakening self and others, does this through skill-in-
means, that is, by thinking of and putting in practice innovated ways to bring the
Dharma (the teaching of the Buddha) to people according to their situations and
abilities. Traditionally, one way of doing this is by using mandala to illustrate the
Dharma. Certainly the technological situation in most of the world today is dras-
tically different from when mandala were first drawn and the director understands
this. Norbu Rinpoche says, “Illusion is what we see as something that is fake,
something not permanent, something not solid, something that is not true. And
reality is the opposite. But from the Buddhist point of view, everything is fake,
everything is illusion, everything is dependent.” He continues, “This idea I have,
life as cinema, is that one’s life is a movie, film, cinema. There’re actors, there’re
producers, they’re all there, the drama, all the romance, everything that’s in cinema.
And, the very idea, the very purpose of spiritual practice is so you can have control
over how to direct our story [. . .] Most of the time we can’t because we are always
pulled apart by our passions, our aggressions, and these emotions, they write the
story for us [. . .] All of this is directed by you, produced by you, and you are also
the actor. And you are also the audience. You’re just not clever enough to be a
good critic. So you’re always stuck with your own show thinking that what you
have produced is good or real, you’re convinced. That’s how the power of life is,
just like cinema. If you know that, then a certain kind of confidence and courage
will come.”3 From this perspective, it seems that film may have the power to make
the audience realize that life is as illusionary as scenes on the screen. If so, viewing
film can be seen as a type of religious practice.
The idea that drama can serve as Buddhist skill-in-means to lure the view-
ers, unaware, toward awaking, is an old one. The famous Japanese Nō theater
playwright and theorist Zeami (c. 1363–c. 1443 ce) wrote at length about it.
According to Zeami, drama had been used in this way at the time of the Buddha.
When the Buddha held up a flower and only the monk Kāśyapa, smiling, thereby
received his mind-to-mind transmission of the Dharma, this exemplified the per-
fect skill actors must develop. Zeami taught that actors must conceal their minds
even from themselves in order to display the flower to the audience. Later, Zeami
said, Prince Shōtoku (574–622) imported Buddhist drama into Japan as a way
of propagating the Dharma.4 Throughout Asia over the centuries, plays, novels
and poems have been extensively created to inspire in people Buddhist senti-
ments such as the realization of the transience of nature and life, and the eternal
in the momentary. Buddhism and film continues this tradition. Can a director
use symbolic expressions to evoke realization in the viewer like the Buddha with
the flower? Is it possible for a film-maker to achieve a mind-to-screen-to-mind
transmission of the Dharma? If so, the film-maker is a Bodhisattva and the viewer
a practitioner, at least potentially.
 Introduction xv

The development of representations of Buddhism in film has not been free

of controversies. Whereas in America and Europe Buddhism currently appears to
be an alternative to conventional ways, in Asia it typically is a conservative tradi-
tion with all that goes with that, including censorship. Thai Buddhists called for
a ban on the film Angulimala (2003) directed by Sutape Tunnirut, for distorting
Buddhist teachings and glorifying violence. As a result, it was blocked from being
released by government censors until some of the violent scenes were removed.
Afterwards the monk Phra Phisan Dhammavadhi, deemed it acceptable and the
banned was lifted.5
In 2006, the Thai Censorship Board objected to director Apichatpong Weer-
asethakul’s depictions of a Buddhist monk playing guitar in movie Syndromes
and a Century. They felt the portrayal was undignified. Apichatpong refused to
make the cuts and withdrew his film from release in Thailand, although it had
been shown in other countries. As a result, some artists petitioned the Board and
the country subsequently revisited the rating system. Likewise, the release of the
Thai film In the Shadow of the Naga (Nak prok, directed by Nasorn Panungkasiri)
was delayed due to protests by Buddhists. The film depicts three criminals who
become Buddhist monks in order to recover stolen goods buried beneath a
temple. It was completed in 2008 and finally released in 2010.
Buddhist conservatism is not restricted to Asia. In America the release of the
film Hollywood Buddha (completed in 2003), directed by Philippe Caland, was can-
celled by the director because of protest by Buddhists in California. The film tells
the story of Philippe, bankrupted film-maker on the verge of eviction. Philippe
seeks the advice of a Buddhist master, who persuades him to purchase an expen-
sive sculpture of a Buddha. The pre-release movie poster depicts Philippe, played
by the director, sitting on the head of the large Buddha sculpture. Buddhist pro-
testers found this out and the anticipated content of the film objectionable. It is
interesting to note that such conservatism exists alongside Buddhist stories about
masters who ripped up scriptures, chopped up the master’s chair, and destroyed
images of the Buddha so that practitioners would not become attached to them.
Hence the Zen proverb: If you meet the Buddha on the road, kill him.
Such mixed messages in the history of Buddhism add to the complexity of
analyzing Buddhist content in films and likely makes a single model impossible. It
is equally difficult to develop a Buddhist analysis of film. Some might guess any
Buddhist analysis of film would begin and end by saying desire and ignorance
surrounds every aspect of the affair, film-making, representation, and spectatorship
alike.This widespread understanding of Buddhism is, however, grossly mistaken. In
its 2,500-year history, across vast borders and diverse political situations, Buddhism
has developed deep analyses in areas we today call sociological, psychological, and
phenomenological. On the one hand, through many historical changes, the basic
formula of the Buddha’s Four Noble Truths and the Eightfold Path remains
intact, beginning with the assumption that life is filled with dissatisfaction. On the
other hand, historical emphasis on one or another aspect of the Four Noble Truths
xvi Introduction

and the Eightfold Path, and the degree of detail some traditions of Buddhism have
developed to account for each of these has greatly complicated matters.
In today’s world, is there relevance to the idea that life is pervasive dissatisfaction
as the Buddha’s first Noble Truth states? Dissatisfaction translates the Pāli language
word dukkha, usually rendered into English as “suffering.” In the modern world
of plumbing and refrigerators, young people in countries where the majority has
traditionally been Buddhist, now ask, “How is all life suffering? I have a new sports
car.” We are surprised to see in the film The Cup young Tibetan monks scheme to
obtain a satellite dish in order to watch World Cup soccer. Many Asian monastics
defrock upon immigration to America. Why be a monk in the land of plenty? But
dukkha also expresses uneasiness in life we may not readily equate with suffering.
This is the feeling we get from perpetually desiring things we don’t have and want-
ing to rid ourselves of things we have but dislike. Maybe this is basic to humanity,
compelling us to act, expand, reproduce, and innovate. But, it is also manipulated
to drive a market economy capable of manufacturing “needs” for profit. No matter
how much you have bought, you may not stop buying or the economy will col-
lapse. Likewise, we are all given the parental advice from family and society, “Never
settle.” Doesn’t this mean never be satisfied? In such a world dukkha is far from
lost. We should not wonder when during the 2008 Olympics Ara Abrahamian of
Sweden placed his bronze medal on the wrestling mat in protest of being judged
only third best in the world. This and the things upsetting each of us take place
at the same time wars rage, people are being raped and brutalized, and the basic
conditions of sickness and death remain ever present.
Living in perpetual dissatisfaction is called ignorance in many Buddhist writings.
Ignorance translates the Sanskrit word avidyā. It is the opposite of knowing, vidyā,
which has the Sanskrit root vid. The Latin and Greek words video share this root,
likely from a common Indo-European source. Vidyā may also be used to mean
meditation (Sanskrit: dhyāna). It is interesting that this term, basic to Buddhist awak-
ening, has entered our language in the word “video,” relating to the topic of our
study. More interesting is whether vidyā is possible through video. Professor Robert
Sharf at UC-Berkeley taught a film series course called “Seeing Through the Screen,
Buddhism and Film.” The course outline says the course will, “as the double enten-
dre of its title suggests, be looking at Buddhism through film, and film through
Buddhism—using the medium of film to explore various themes and issues in the
study.”6 We can imagine other senses to this title. One is seeing beyond the film to
reality as it is or as Buddhists say it is, sometimes called “thusness” or “suchness”
(Sanskrit: tathātā) in translations of Buddhist texts. For some Buddhists, this would
be vidyā. But again, is it possible by viewing film to see through the screen in that
sense, the screen of ignorance causing pervasive dissatisfaction or suffering? A similar
possibility was forwarded by Francisca Cho, who suggests “a nonliterary approach to
film by seeing it as a form of religious practice.”7
As we watch these films and study their Buddhist content, we might ask who
exactly is the subject seated before the screen, involved in an activity which has
 Introduction xvii

been described as everything from passive absorption to active production? How

are we linked to screen, narrative, and character? A Zen teacher once told a student,

If you really want to know your true nature you must orient yourself toward
the source of delusive thoughts and get to the bottom of it. When you hear
a voice, do not focus on the thing that you are hearing but, instead, return
to the source of your own hearing. If you practice in this way with all things
you will definitely clarify your true nature.8

Some time ago, ethno-methodologists engaged in activities such as viewing film,

to study the social components of those behaviors. Perhaps a Buddhist viewing, if
such is possible, would be somewhat similar. Whether we actually try this or not
as progressing though this book, it is interesting to note the possibilities.

Notes
1 Dharmaga tongjoguro kan kkadalgun, South Korea, 1989. Quoted in the press release
at the film distributor’s website http://cdn.shopify.com/s/files/1/0150/7896/files/
BodhiDharmaPK.pdf?1009, accessed 8/15/12.
2 http://cdn.shopify.com/s/files/1/0150/7896/files/BodhiDharmaPK.pdf?1009, accessed
8/15/12.
3 From Life as Cinema, included in the special features on the DVD release of The Cup.
4 Masakazu Yamazaki, On the Art of the No Drama: The Major Treatises of Zeami, p. 3.
5 See http://en.wikipedia.org/wiki/Angulimala_(film), accessed 3/22/11.
6 http://buddhiststudies.berkeley.edu/filmseries/, accessed 8/17/12.
7 Francisca Cho, “Buddhism, Film, and Religious Knowing: Challenging the Literary
Approach to Film,” in Teaching Religion and Film, p. 117.
8 “The Awakening of Mugai Nyodai (Died 1298)” in Addiss et al. (eds.), Zen Sourcebook:
Traditional Documents from China, Korea, and Japan, p. 176.
This page intentionally left blank
1
EARLY REPRESENTATIONS
Broken Blossoms and Lost Horizon

Since the Middle Ages, some European writers have used “the East” or “the
Orient” to revolt against rationalism. Their stories tell of adventurers in search
of magical knowledge no longer found in Europe. Asian religions came to be
used as philosophies of unity against what writers viewed as the fragmentation
of existence produced by science and technology. Nineteenth-century Europe
saw a renewed interest in this. William Butler Yeats and others used mystical
images of Asia in reaction against positivism. In America, before the Civil War,
the works of Henry David Thoreau and Ralph Waldo Emerson show Buddhist
influence. Thoreau made the first translation of part of the Lotus Sūtra into English
and was clearly interested in Buddhism. A few decades later, Asian religions
were introduced to larger audiences in America under the sponsorship of various
international-oriented groups interested in representing religions in certain ways.
In 1875, the Theosophical Society was founded in New York City to promote
their beliefs in spirituality largely pieced together from Asian traditions including
Buddhism. It was founded by Helena Blavatsky and Henry Steel Olcott among
others. Madame Blavatsky was a Russian psychic who had immigrated to America.
Henry Steel Olcott was a US military colonel interested in mysticism. The two
moved to India where Colonel Olcott became possibly the first American convert
to Buddhism. He went on to become a hero in Sri Lanka’s struggle for indepen-
dence from Britain by defending Buddhism against strong attacks from Christian
missionaries. Today there is a major street named after him in Colombo, Sri Lanka.
In 1893, the World’s Parliament of Religions took place in Chicago. At the
time, Swami Vivekananda impressed crowds by speaking about philosophical issues
related to Hinduism. Japanese Buddhists and representatives of other Asian reli-
gions, funded in part by Colonel Olcott, also made impressions on those attending
as reported in news media. These events of the 1870s–1880s led to curiosity and
Other documents randomly have
different content
CHAPTER LXXXII. KRISHNA'S ARRIVAL.

Vaishampayana said:—Thereupon yoking (the horses to the) car and

ascending thereon the liberal giver Akrura set out with Krishna and
Sangkarshana and reached the charming city of Mathurā protected
by Kansa. And before evening when the sun was in its crimson
colour he entered that beautiful city (1-2).
Taking the heroic Krishna and Sangkarshana of beautiful colour
first to his own house the intelligent giver of liberal presents,
effulgent like the sun, said to them:—
"O sire, for the present you are to relinquish the desire of going
to Vasudeva's house (3-4). For you, your old father is being day and
night chiden by Kansa. So you should not wait here long (5). You
should do such a good and pleasant work on his behalf that your
father may attain to happiness (6)."
Hearing this Krishna said:—"If you like O pious (Akrura) we,
while visiting Mathura and her highways, will enter unperceived into
Kansa's house (7)."
Vaishampāyana said:—Bowing unto Krishna in his mind Akrura
too, with a delighted mind, went to Kansa (8). Thus instructed those
two heroes went on visiting all the high-ways like two elephants let
free from their posts and desirous of fighting (9). Seeing a washer-
man on the way they asked of him beautiful clothes (10). The
washer man replied to them, saying "Who are you? Out of ignorance
you have been fearlessly wanting the robes of the king. It seems you
are rangers of the forest (11). I dye, as he desires, all the clothes of
the king Kansa which he gets from various countries (12). Methinks,
born in a forest you have grown up with the deer. Otherwise why do
long for and pray for the various dyed clothes (13). You are stupid
and of inferior intellect, or else why do you desire for king's clothes.
Perhaps giving up all hopes of your life you have come here (14)."
Destiny was against that stupid washer-man of feeble
understanding and therefore he discharged such poisonous words.
Krishna grew offended with him and struck him on the head with his
fist strong as the thunder-bolt. With his head sundered he fell down
lifeless on earth (15-16). Thereupon the wives of that washer-man,
bewailing for their dead husband indignantly and with dishevelled
hairs, soon approached Kansa's house (17).
Like two elephants attracted by smell those two sweet speeched
brothers went to a shop for garlands (18). There lived a wealthy,
sweet-speeched and good-looking garland dealer by name Gunaka.
He had a large stock of garlands (19). Desirous of having garlands
Krishna, with sweet words and without any hesitation, said to the
shop-keeper "Give me some garlands (20)." Hearing this the
garland-dealer was pleased and conferred upon those two beautiful
brothers a number of garlands and said "These are all yours (21)."
Being pleased Krishna conferred upon Gunaka a boon saying "O
gentle one, the goddess of prosperity, who is my dependant, shall
always live by you with profuse riches (22)." With his head bending
low and touching the feet of Krishna that garland-dealer patiently
accepted the boon (23). Then thinking "They are Yakshas," the
garland-dealer, stricken with great fear, did not give any reply (24).
Thereupon again going to the high-way the two sons of
Vasudeva espied Kuvjā with pastes in her hands (25). Seeing her
Krishna said:—"O lotus-eyed Kuvjā, tell me quickly for whom you are
carrying these unguents" (26). Hearing this Kuvjā, going obliquely
like a lightning, with delightful eyes and smiles said to the lotus-eyed
Krishna in words grave as the clouds (27). "May you fare-well. I was
going to the king's bath-room. I am waiting here because you are a
darling of my heart; come and accept this unguent. O you of lotus-
eyes, of you of a beautiful face, seeing you I am filled with surprise
(28–29). O gentle one, whence have you come that you do not
know me. I am a favourite of the king and engaged in the work of
smearing his body" (30).
Krishna then replied to Kuvjā who stood there smiling: "Give us
unguents befitting our body (31). O you of a beautiful face, we are
wrestlers who travel over the countries. We have come here at
present to see this happy and prosperous kingdom and to witness
this bow-sacrifice (32)". She said to Krishna "No sooner I have seen
you than you have become my favourite. Without any hesitation
accept this unguent becoming a king (33)." Thereupon besmearing
their beautiful persons with unguents those two brothers shone like
two bulls covered all over their body with the mud of Yamuna (34).
Thereupon Krishna, conversant with the art of arranging for sports,
softly touched the haunch of Kuvjā with his fingers (35). Knowing
her haunch (thus) broken, the beautiful and sweet smiling Kuvjā, like
unto a straight creeper, said with love to Krishna displaying her
gestures and laughing aloud "Where wilt thou go? Wait here,
requested by me. Take me (36–37)." The eternal Krishna and Rāma
had a knowledge of Kuvjā's accomplishments and therefore looking
at each other they began to laugh striking their palms (38).
Thereupon smiling a little Krishna sent away Kuvjā who was stricken
with desire. Thus liberated from Kuvjā's (grasp) they set out for the
court (39).
Thereupon those two brothers, dressed like milk-men and
brought up in Vraja, entered the palace without betraying the
designs they had at heart by the gestures of their faces (40). Like
two proud lions, born in the Himalaya forests, those two boys,
unnoticed, reached the house of bows (41). Desirous of seeing that
bow embellished with celebrity those two heroes said to the keeper
of the house of weapons (42). "O keeper of Kansa's bows, hear our
words. O gentle one, where is that bow for which this sacrifice is
being celebrated (43)? If you like, show us that celebrated bow." He
then showed them the bow resembling a pillar, to which even the
gods headed by Vāsava cannot set a string and which cannot be
broken down. The powerful Krishna took it up with his hand (44–
45). Taking up with his hand with a delighted mind that bow
worshipped of the Daityas the powerful lotus-eyed Krishna stretched
and bent it continually. Bent with force by Krishna that celebrated
bow, resembling a serpent, broke in twain. Having thus broken that
best of bows, the quick-coursing youth Vāsudeva issued out of that
room along with Sangkarshana (46-48). At that time all the quarters
were filled with the sound of the snapping of the bow resembling
that of the wind and the entire inner appartment shook at it (49).
Thereupon terrified the guard, coming out of the room of weapons,
speedily approached the king and breathing like a crow said—"Hear,
I shall relate what wonderful incident, like unto the dissolution of the
world, has taken place in the house of bows. Two heroic men,
capable of assuming forms at will and resembling the sons of gods,
clad in blue and and yellow raiments and besmeared with such
unguents, at once entered into the inner appartment unnoticed by
men. The effulgence of their body is like new fire and their locks are
adorned with spreading tufts of hair (50–53). They were adorned
with beautiful raiments and garlands. Those two gentle heroes, as if
at once came, down from the sky and stationed themselves in the
bow-room. I have seen this myself distinctly (54). Of them the lotus-
eyed and dark hued hero, who wore yellow apparel and garlands,
took up that best of bows which even the gods cannot (55), O king,
although a boy, he easily and speedily with force stringed and bent
that huge iron bow (56). When that large armed hero drew that bow
without arrows with a great sound it broke into two pieces in its
middle (57). With the sound of the snapping of that bow the sun
was shorn of its effulgence, the earth was agitated and the sky was
as if displaced (58). O you, a terror of your enemies, beholding this
great super-human deed I am filled with surprise and in fear come
have to communicate to you this news. Of those two heroes of
unmitigated prowess, one is like the mount Kailāsa and the other is
like a mountain of collyrium in hue. I do not know who they are. As
an elephant breaks down a pillar so that hero, of great prowess,
shattered that precious bow in twain and went away speedily like air
with his companion. I do not know who he is, O king" (59–61).
Kansa knew everything from before, so hearing of the breaking of
the bow he did not say any thing. Dismissing the guard he entered
into his most excellent room (62).
CHAPTER LXXXIII. ARRANGEMENTS FOR THE
MATCH.

Vaishampayana said:—Meditating on the incident of the breaking of

the bow Kansa, of Bhoja race, was greatly stricken with grief and
absent-mindedness (1). He began to think:—"How could a boy
fearlessly break down an iron bow guarded by men and go out (2).
None can withstand destiny by manliness for now, as predicted by
Nārada, that has come to pass for which out of fear I perpetrated a
dreadful and highly censurable deed and destroyed the six heroic
sons of Devaki" (3-4).
Thus thinking and issuing out of his own apartment the king
went to the arena for examining the platforms (5). This hall was
constructed by clever artizans, abounded in well fixed platforms and
was adorned with turrets consisting of beautiful rooms. It had a
spacious courtyard and a number of pillars of the same size. It was
bedecked on all sides with strong tusks of elephants and with
spacious, high and royal seats. It had many passages, could carry
the burden of many men and was filled with altars. Beholding this
spacious well-built, and strong arena that intelligent best of kings
issued the mandate "(tomorrow) the bow sacrifice will take place.
Let the platforms, turrets and passages be embellished with
garlands, flags and covers and be sweet-scented (6-11). Let the
enclosures be adorned with bells, covers and becoming edibles and
place there profuse cow-dung (12). Let excellent golden jars full of
water be placed in due order (13). Let jars full of edibles and scents
be placed and invite all those who are clever judges of warfare and
the citizens (14). Issue my mandate to the wrestlers and visitors and
let beautifully decked and enclosed platforms be set apart (15)."
Issuing this command regarding the arrangement of the party Kansa
left the arena for his own appartment (16).
Having entered his own room Kansa sent for Chānura and
Mushthika the two wrestlers of unequalled strength (17). Following
Kansa's order those two highly powerful energetic and large armed
wrestlers entered his room with a delighted heart (18). Beholding
those two world-renowned wrestlers before him king Kansa
addressed to them the following words pregnant with propriety (19).
"You are both my heroic wrestlers well-known (in the world). You are
worthy particularly of good treatment and therefore I always regard
you (20). If you remember the honors I have showered upon you
then engage in a great work with your energy on my behalf (21).
Forsooth, fighting in the arena with those two forest-ranging cow-
herd boys Krishna and Sangkarshana who have grown in Vraja for
me you will be able to throw them on earth and kill them (22–23).
You will be perfectly careful in killing them; do not disregard them as
boys of fickle nature (24). If those two boys are killed in battle in the
arena I shall meet with well-being both in present and future (25)."
Hearing these affectionate words of the king the wrestlers
Chānura and Mushthika, mad after fight, delightedly replied (26):
—"If those two helpless boys, the very sin of the Gopas, come
before us know them as already slain and existing in the shape of
ghosts (27). On our being worked up with anger if those two forest-
rangers, enveloped in calamities, withstand us, we will destroy them
in your very presence (28)." Giving vent to these poisonous words
and commanded by king Kansa those two foremost of wrestlers
Chānura and Mushthika returned to their own habitations (29).
Thereupon Kansa said to his elephant-trainer Mahāmātra:
—"Keep at the gate of the arena the fickle-natured and powerful
elephant Kuvalayapida, the oppressor of other elephants, whose
temples are soaked with temporal juice, eyes are always inebriate
and who is always angry with men (30–31). When the mean forest-
ranging sons, of Vasudeva, will come do you so drive that elephant
at them that they might at once be deprived of their lives (32). If by
you, through that elephant-chief those two irrepressible Gopas are
killed in the arena my eyes will derive pleasure from seeing you (33).
Beholding them slain, Vasudeva, with his root cut off and helpless,
will meet with destruction along with his wife (34). Beholding
Krishna thrown down all the stupid Yādavas will give up hope and be
slain (35). Having myself slain those two cow-herd boys through the
wrestlers or the elephant I shall divest the city of Mathurā of all the
Yādavas and live here happily (36). I have forsaken my father
because he belongs to the Yadu race and I do now forsake the
remaining Yādavas devoted to Krishna (37). Verily as said by Nārada
I am not begotten by Ugrasena a man of feeble energy who hankers
after a son (38)."
Mahamatra said:—"How did the celestial saint Nārada describe
the wonderful story related by thee, O king, O thou, the slayer of thy
enemies (39). O king, how couldst thou take thy birth from any
other person save thy father Ugrasena? How could thy mother
perpetrate such an abominable deed which even the ordinary
women cannot? O great king, curious I am to listen to all these in
detail (40—41)."
 Kansa said:—Hear, if you are so anxious, I shall describe what
the powerful sage Nārada, the foremost of Brāhmanas said (42).
Once on a time came to me from Indra's palace his friend the
immortal, learned and celestial sage Nārada. He was clad in an
apparel white as the rays of the moon, wore matted locks, had an
antelope skin thrown round his neck, a rough sacred thread, a staff
and a pitcher in his hands. He used to recite the four Vedas, was
proficient in the art of music and traversed the Brahma region like
his second-self (43–45). Beholding the arrival of the sage and
adoring him duly with arghya, water to wash his feet and a seat I
took him to my house and made him seated (46). Seated at ease
that foremost of divine sages Nārada, always intent on meditating
upon soul, enquired after my well-being and said with a delighted
mind (47).
Narada said:—"O hero, I have been worshipped by you with
rites sanctioned by Holy Writs. Listen now to a word of mine and
accept it (48). I had repaired to the golden mountain Meru, the
abode of the gods. On the summit of that mountain Sumeru a
meeting of the gods was held. I heard them hold counsels regarding
the highly dreadful destruction of yourself along with all your
followers (49-50). I heard there, that the eighth son of Devaki,
Vishnu, worshipped of all, would bring about Kansa's death (51). He
is all in all of the gods, the support of the celestial region, the great
mystery of the gods. He will be your Death (52). O king, one should
not disregard his enemy, even he may be weak or his own kinsman.
Be careful to put Devaki's children to death (53). O you of great
power, Ugrasena is not your father. The energetic and dreadful
Drumila, the king of Soubha,261 is your father (54)." Hearing his
words I was filled with anger a little and accosted him again saying
"O Brahman, how could Dānava Drumila become my father (55)?
How could he know my mother, O Vipra? I wish to hear all this at
length, O great ascetic (56)."
Narada said:—"O king, listen, I shall truly relate how your
mother was united with Drumila (57). Once on a time your mother,
during her menses, went out of curiosity to see the mountain
Suyāman along with her female companions. She was ranging in the
beautiful summits of the mountain abounding in charming trees and
table-lands, and in the caves and on the banks of the rivers (58–59).
Hearing again and again the lust-exciting words, sweet as the songs
of the Kinnaras, pleasant to the ears; and echoing on all sides, the
notes of the peacocks and other birds her mind was worked up with
desire the usual habit of women (60–61). In the meantime there
blew the wind carrying the fragrance of flowers of the forest that
awakes Manmatha (the god of love) (62). Driven by the wind the
Kadamva flowers, closed by continual showers and adorned with
black bees, began to pour down fragrance profusely (63). With the
downpour of flowers and filaments the Neepa trees shone there like
lamps (64). Covered with new grass and adorned with Indragopa
insects the earth appeared to have her menstrual flow, like a
youthful damsel (65). At that time, O Kansa, as if you urged on by
destiny the beautiful Dānava Drumila, capable of coursing at-will, the
king of Soubha, came there by the etherial way in a quick-coursing
car, going everywhere at will, and effulgent like the new sun, to see
mount Suyāmana. Reaching that foremost of mountains, descending
from his car, and keeping his chariot, that is capable of destroying
other cars, in the garden on the mountain he began to walk on the
summit along with his charioteer (66–69). They saw there many
forests and gardens endued with characteristics of various seasons
and resembling the celestial garden of Nandana, various jewels of
golden, silvery and collyrium-like hues, summits covered with diverse
mineral substances, various trees adorned with many sorts of fruits
and flowers, filled with the fragrance of flowers and resorted to by
various creatures and birds of diverse species, various places
abounding in herbs and Rishis of accomplished piety, numberless
Vidyadharas, Kimpurushas, Vānaras, Rakshasas, lions, tigers, boars,
buffaloes, Sarabhas, Shalas, Srimaras, Mahasatwas, elephants and
Yakshas as they walked over that best of mountains (70-75).
"Thereupon from distance Drumila, the king of Daityas, saw
your mother, as if the daughter of a god, culling flowers from the
trees and sporting with her companions (76). Beholding from a
distance that goddess of a beautiful hip encircled by her companions
the king of Soubha, filled with surprise, said to his charioteer (77).
"'Who is this beautiful, high-minded and accomplished damsel
having the eyes of a roe who is ranging at the outskirt of the forest?
(78). Is she Madana's Rati, Indra's Sachi or Tilottamā? Or is she
Aila's daughter Urvashi, the jem of a woman who came out riving
the thighs of Nārāyana (79)? When converting the mount Mandāra
into a churning rod the gods and Asuras, unitedly, churned the
ocean of milk for ambrosia the goddess Sree, the root of the world,
arose therefrom and adorned the lap of Nārāyana. Is she the
beautiful Sree (80–81)? Who is she, who, walking in the midst of
that bevy of ladies, is lighting up the forest with her beauty like into
a lightning, attached to dark clouds, shining up all the quarters (82).
I am beside myself at seeing this highly beautiful damsel of defect-
less limbs and moon-like countenance and all my senses have
become agitated (83). My mind is highly worked up with lust. The
holder of the flowery bow262 is wounding greatly my body with
flowery shafts (84). Like a ruthless wight he is cutting my heart and
consuming it with five arrows and my lust is increasing like fire
sprinkled with clarified butter. What work shall I undertake to-day to
pacify this fire of lust (85)? On undertaking what will this beautiful
damsel worship me?'
"Thinking thus for a long time Dānava Drumila could not attain
to patience and again said to his charioteer:—'Wait here for a
moment, O sinless one. I shall myself go and see whose wife she is
(86–87). Therefore wait here till my return.' Hearing his words the
charioteer said 'So be it (88).'
"Saying this to his charioteer and rinsing his mouth that
powerful king of Dānavas, bent on going there, engaged in
meditation and thought (89). Meditating for a moment he, by this
knowledge, came to know that she was Ugrasena's wife and was
highly pleased (90). Changing his form and assuming that of
Ugrasena that large-armed king of Dānavas proceeded smilingly
(91). O Kansa, thus proceeding gradually with smiles in his Ugrasena
form that powerful (Dānava) caught hold of your mother and
ravished her (92), On account of her exuberance of feelings that
lady, devoted heart and soul to her husband, was united with her.
Then perceiving the heaviness of his touch, she was filled with fear
(93). Then rising up and terrified she said to him:—'Forsooth thou
art not my husband. Who art thou that hast polluted me with thy
impure conduct (94). By thee of mean habits, assuming the form of
my husband, my vow, of devotion to one husband, has been
spoliated (95). Alas, being enraged with me what will my kinsmen
say to me who have brought disgrace on my family. And forsaken
and censured by my husband's relatives where shall I live (96)? O
thou born in a degraded race, thou art passionate and shorn of
patience. Fie on thee! While thou hast begun to ravish other's wives,
thou art not worthy of confidence and your lease of life has run out
(97).'
"While the lady thus remonstrated with him that Dānava, filled
with anger, said:—'I am Drumila, the king Soubha (98). O stupid
woman vaunting of learning, being under the protection of a human
husband subject to mean death, why art thou censuring me (99). O
thou proud of thy womanly honour, eternal is not the understanding
of a woman and therefore they are not (by coming in contact with a
person like myself) visited by the sin of incontinence263 (100). I have
heard that by going astray many women have given birth to sons of
unlimited prowess like unto the gods (101). Thou art a most chaste
and devoted wife amongst women, and therefore art remonstrating
with me, although I am sinless, and saying whatever thou dost like
(102). O excellent woman, because thou hast addressed me as
Kastham (who art thou) therefore thou shalt give birth to a son by
name Kansa the destroyer of his enemies (103).'
"Hearing these words the queen was filled with anger and
speaking ill of his boon she again, with a heart aching, said to that
impudent Dānava (104). 'Fie on thy conduct, O highly wicked one.
Thou art speaking against all women. But there are many amongst
them who are chaste and many who are unchaste (105). O wretch
of thy race, by Arundhati and other chaste ladies, of whom we hear,
all these creatures and worlds are being upheld (106). I do not like
the son that thou, hast given me—the destroyer of my vow. Hear
what I say about it (107). O vile creature, the eternal Purusha, who
will be born in the family of my husband, will be the destroyer of
thyself and of the son given by thee (108).'
"Thus addressed and ascending the most excellent car of
unobstructed course Drumila went away by the etherial way (109).
And on that very day your mother too went to her city with a poor
heart."
Having said this to me the divine Nārada, the foremost of sages
burning in his ascetic energy like the very fire, playing on his flute of
seven notes and singing, set out for the Brahma region to meet the
Grand-Father. O Mahāmātra, you have listened to the words given
vent to by me (110-112), Truth has been spoken out by the
intelligent Nārada conversant with the knowledge of present, past
and future. In strength, energy, humility, stature, heroism,
manliness, truth, and liberality no man is like me (113-114). Seeing
all these (accomplishments) in me I placed confidence in his words.
O elephant-trainer, I am a Kshetraja264 son of Ugrasena (115). If
both my parents forsake, I shall be on the royal throne by my own
power. I have been hated by them both and especially by my
kinsmen (116). Having slain, through the elephant, first these two
sinful cowherd boys I shall afterwards kill all the Yādavas belonging
to Krishua's party (117). Riding your elephant with goads, swords
and Tomaras, do you wait, O Mahāmātra, at the gate of the arena.
Do not tarry (118).

[261] The city of Harishchandra suspended in mid-air.

[262] This refers to Madana (Cupid). He is represented to carry a
flowery bow and flowery shafts.

[263] The purport is that women are mortal and so by living with
immortals on immoral terms they commit no sin as they do
when they mix with men.

[264] Lit: produced in a field, born of the wife. A son, the

offspring of the wife by a kinsman or person duly appointed
to procreate issue to the husband. This is one of the twelve
kinds of issue acknowledged by the old Hindu Law.
CHAPTER LXXXIV. A DESCRIPTION OF THE
ARENA.

Vaishampayana said:—Upon the following day the ampitheatre was

filled by the citizens anxious to behold the great game (1). The place
of assembly was supported by octagonal painted pillars, fitted up
with terraces, doors and bolts, with windows circular or crescent;
shaped and accomodated with seats with cushions; and it shone like
the ocean whilst large clouds hang upon it, with spacious substantial
pavillions fitted up for the sight of the combat; open to the front but
screened with beautiful and fine curtains, crowned with festoons of
flowers and glistening with radiance, like autumnal clouds. The
pavillions of the different companies and corporations, vast as
mountains, were decorated with banners, bearing upon them the
implements and emblems of the several crafts. The chambers of the
inhabitants of the inner apartments shone near at hand, bright with
gold and painting and net-work of gems: they were richly decorated
with precious stones, were enclosed below with costly hangings and
ornamented above with spires and banners and looked like
mountains spreading their rays in the sky; while the rays of light
reflected from the valuable jewels were blended with the waving of
white chowries and the musical tinkling of female ornaments. The
separate pavilions of the courtesans were graced by lovely women
attired in the most splendid dresses and emulated the radiance of
the cars of the gods. In the place of assembly there were excellent
seats, couches made of gold and hangings of various colours,
intermixed with bunches of flowers; and there were golden vases of
water and handsome places for refreshment, filled with fruits of
various kinds and cooling juices, sherbets fit for drinking. And there
were many other stages and platforms constructed of strong timber;
and hangings by hundreds and thousands were displayed; and upon
the tops of the houses, chambers, fitted up with delicate jealousies
through which the women might behold the sports, appeared like
swans flying through the air. In front stood the pavilion of Kansha
surpassing all the rest in splendour looking like mount Meru in
radiance; its sides, its columns being covered with furnished gold;
fastened with coloured cords and every way worthy the presence of
a king (2-15).
Having ordered 'Let the elephant Kuvalyapida wait at the gate'
the king Kansa entered the arena abounding in men hailing from
various countries, echoing with their noise, shaking and radiant like
a huge ocean (16-17). With two white chowries on his two sides,
with two pieces of white raiment on his body and a white turban on
his head he shone like the moon of white rays on the white summit
of the white mountain (18). When that intelligent king was seated at
ease on his throne, the citizens, beholding his matchless beauty,
exclaimed shouts of victory (19).
Thereupon entering the arena, the powerful wrestlers, with
loose garments, took ground on three sides (20). Afterwards
accompanied by the sound of trumpets and the slapping of the arms
the two sons of Vasudeva, with delighted minds, arrived at the gate
of the arena (21). As soon as they entered there quickly those two
sons of Vasudeva, of beautiful faces, were obstructed by that mad
elephant moving hither and thither (22). Driven again and again that
wicked elephant, folding up its trunk, attempted to destroy Rama
and Krishna (23). Thereupon terrorized by the elephant, Krishna,
smiling and speaking ill of the intention of the wicked-minded Kansa,
said:—"While Kansa is desirous of killing me through this elephant
forsooth he is eager to repair to the abode of Yama" (24-25).
Thereupon when that elephant, roaring like a cloud, neared
him, the powerful Govinda, leaping up, slapped his arms (26).
Roaring like a lion and slapping his arms, he, stationed before the
elephant, took its trunk covered with water, on his breast (27).
Sometimes he went between his two tusks and again between his
two legs and thus agitated him as does wind the ocean (28). Then
coming out of the top of his trunk and tusks and of his legs
Vasudeva drew his tail and put it into the ground (29). Thereat that
huge-bodied best of elephants became bewildered and could not
slay Krishna. And with his body, as if grinded, he began to roar there
(30). Then touching the earth with his two knees and assailing the
surface the earth with his tusks he began to discharge must265 in
anger like a cloud in the rains (31). Thus sporting with that elephant
under the pretext of a childish freak Krishna, in order to kill Kansa,
desired to destroy him soon (32). Thereupon placing his foot on his
lower lip he, with his two hands, uprooted his tusks and struck him
therewith (33). Assailed with the strokes of his own thunder-like
tusks the elephant passed urine and excreta with a great sound
(34). Profuse blood came out of the temples of that elephant whose
limbs were mutilated by Krishna and whose mind was stricken with
sorrow (35). As Vinatā's son (Garuda) draws a serpent lying with its
half on the face of a mountain so the holder of plough-share
(Baladeva) began to drag him with force by the tail (36). Thus
striking the elephant with the tusks, Krishna, with one stroke, hurt
the elephant-driver by name Ulvana (37). Then setting up a terribly
plaintive roar, that huge elephant, with his tusks broken, fell down
along with Mahāmātra like fire thrown down by thunder bolt (38).
Thereupon taking up a Torana and other weapons those two
foremost of men, Rāma and Krishna, dreadful in battle, destroyed
the guards protecting the rear of the elephant (39). Having slain
them when those two Mādhavas, adorned with wild garlands,
entered the arena all the Vrishnis, Andhakas and Bhojas took them
for two Ashinis coming down, of their own accord, from the celestial
region. With their leonine roars, shouts of joy, slapping of arms and
striking of palms they pleased all the people there (40-41). O
descendant of Bharata, beholding them and the attachment and joy
of the citizens the vain Kansa was filled with sorrow (42). Having
thus slain the roaring elephant the lotus-eyed Krishna, along with his
elder brother, arrived at the ocean-like arena (43).

[265] It is a Persian word for Mada which means a juice that

exudes from the temples of a rutting elephant.
CHAPTER LXXXV. TRIAL OF ARMS.

Vaishampayana said:—Shaking the earth with the sound of the

slapping of his arms Krishna, the lotus-eyed son of Devaki, entered
the arena, with his elder brother before him. His raiment was being
shaken by the wind, his body was wounded with the tusks of the
elephant and his limbs were covered with must and blood; he was
bounding like a lion and entered there quickly like a cloud for
bringing about the destruction of Kansa. He was very careful to find
out the defects and his beautiful arms were adorned with the tusks
of the elephant. Beholding him thus enter with great force the face
of Ugrasena's son grew pale and he began to eye them in anger (1–
4). With the tusks in his hand Keshava shone there like a mountain
of one summit stricken with the image of the half-moon (5). While
he ranged by leaps and bounds, that ocean-like arena shone there
filled with the echoes of the crowd (6).
Thereupon with his eyes reddened in anger the highly wrathful
Kansa ordered the greatly powerful Chānura to fight with Krishna
(7). He ordered the powerful wrestlers Andhra, Nikriti and
Mushthika, resembling so many mountains, to engage with Balarāma
(8). Chānura had already been ordered by Kansa to fight with
Krishna carefully. And again commanded thus, he, with his eyes
reddened with ire, went forward to fight like a cloud surcharged with
water (9-10). Afterwards when the royal mandate "Be all silent" was
announced on all sides and the entire crowd was hushed into silence
the Yādavas, assembled together, said (11): "This trial at arms was
first introduced by the Creator as one in which no weapons should
be used, in which skill and strength are necessary, in which there
should be judges and no cowards should take part (12). In it (the
parties) should await the appointed hour and remove their toil with
water. It is also laid down that wrestlers should besmear their body
with cow-dung (13). In it one standing should fight with another
such, one lying on the ground should engage with another such; in
whatever condition one may be one should fight with him in that
order; such the judges say (14). A boy, a youth, an old man, a
strong man or a weak man, whoever he may be, they should be
informed of the particulars of the trial waiting in their respective
quarters (15). Persons, conversant with the modes of wrestling, say
that one, conversant with this mode, should not display his strength
or skill while his antagonist is defeated (16). Now Krishna and the
wrestler Andhra will fight with each other in the arena. Krishna is a
mere boy and Andhra is an elderly person. We should exercise our
judgment in this matter (17)."
Thereupon a great tumult arose in the midst of that assembly
and Govinda, leaping up, said "I am a boy and though Andhra is of a
huge body like a mountain I wish to fight with this wrestler of strong
arms (18–19). Though I am a boy I will commit no transgression of
the rules of fight and will not at a stain on the opinions of the
wrestlers (20). Let all the rules, laid down by the cult of wrestlers
regarding the use of cow-dung, water and other things for
besmearing the body, be followed (21). One attains to success in the
arena by self-control, fortitude, manliness, exercise, good conduct
and strength; such is the opinion of exerts (22). Although I cherish
no enmity this man is about to create this feeling in me. Vanquishing
him I shall therefore please the world (23). This wrestler Chānura of
huge proportion is born in the province of Karusha. Although he is a
wrestler his deeds ought to be considered (24). This one, desirous of
acquiring influence in the arena, has put a stigma on the ways of
wrestlers by destroying many of them after their discomfiture (25).
Success, of those fighting with weapons in a battle, consists in
cutting off those (of this antagonist). So the success of a wrestler
lies in throwing down his antagonist (26). By acquiring victory in
battle one attains to eternal glory; and the slain depart to the land of
the celestials (27). The slayer and the slain, both of them, achieve
the same end in a battle; so it is called a life-terminating match and
is spoken highly of by the pious (28). Besides this way of the
wrestlers is beyond both strength and deed. Where is heaven for the
dead and glory for the victorious266 (29)? By his folly a king, who is
proud of his learning, for a display of his power, brings about the
death of some wrestlers through his own men. (Herein both the
agent and the engager) are visited by the sin of destruction (30)."
No sooner had he said this than a highly terrible fight took place
between them both like that of two elephants in the forest (31).
They wrestled with each other in various ways, by mutually
entwining, laying hold of, letting go the adversary, throwing on earth
and taking up in the air (32). By mutually pulling to and casting
back, stricking with fists, elbow, fore-arm and knees, interlacing the
arms, kicking and striking blows as hard as stones and shaking their
heads awry those two heroes, as if made of the essence of rocks,
fought that dreadful contest without weapons (33). Thereupon at
witnessing that strength of arms of the heroes a rejoicing arose in
that assembly. The mind of the people was drawn by that
acclamation (36). The other people from the pavillions spoke highly
(of this feat).
Casting his looks at Krishna and with his face soaked with
perspiration Kansa, with his right hand, prevented the blowing of the
bugle (37). Although his trumpets and bugles were not sounded the
celestials in the sky began to blow their own. When the lotus-eyed
Hrishikesha engaged in fight the sound of bugles arose of itself on
all sides (39). Along with the Vidyadharas, the Devas, capable of
assuming form at will, disappeared from view and began to pray for
Krishna's victory (40). Stationed in the sky the seven Rishis
exclaimed "O Krishna, vanquish the Dānava in the form of the
wrestler Chānura" (41). Wrestling with Chānura for a long time,
Devaki's son, who foresaw Kansa's death, stole away his strength
(42). Thereat the earth trembled, the pavillions rolled and the most
excellent jewel slipped off from Kansa's crown (45). Thereupon
again throwing down the reviving Chānura by his arms Krishna
pressed his breast with his knees and struck him on the head with
his fist (44). Thereat his eyes, covered with tears and blood, were
driven out of their sockets. And hanging on his side they appeared
like golden bells (45). Thus with his eyes drawn out Chānura, shorn
of his strength and life, lay in the arena (46). With the body of the
wrestler Chānura, deprived of his life, that big arena appeared is if to
have been obstructed by a mountain (47).
After Chānura, proud of his strength, had been slain Rohini's
son engaged with Mushthika and Krishna with Toshala again (48). In
the first challenge, those two wrestlers, beside themselves with
anger, as if urged on by Destiny met Rāma and Krishna (49). Thrown
down by a gust of wind they began to leap and bound in the arena.
Taking up Toshala, huge as a mountain summit and whirling him for
a hundred times the powerful Krishna grinded him on the earth (50).
Then profuse blood gushed out of the mouth of that powerful
wrestler attacked and assailed by Krishna. And he was on the point
of death (51). Displaying various circular feats and fighting for a long
time with Mushthika, and the wrestler Andhra the energetic and
powerful athlete Baladeva struck his head with his fist resembling a
cloud accompanied by a thunderbolt (52–53). Thereat his brain
came out and his eyes were displaced. When he fell down slain on
earth the multitude sent up a great shout (54). Having thus slain
Toshala and Andhra, Krishna and Sangkarshana, with eyes reddened
in anger, began to move about with leaps and bounds in the arena
(55). At that time the great wrestlers Andhra and Chānura being
slain that grim looking arena grew void of wrestlers (56). With all
their limbs trembling waited there the Gopa spectators headed by
Nanda (57). With her limbs trembling, her breast pained with the
discharge of milk and eyes bathed in tears of joy Devaki began to
see Krishna (58). Vasudeva, who had his eyes agitated by tears on
seeing Krisana, became youthful as if casting off his decrepitude
(59). As if through the black-bees of their respective glances, the
courtesans drank the lotus countenance of Krishna (60). There were
seen drops of perspiration on Kansa's face for seeing Krishna and of
anger between his eye-brows (61). His heart was fanned by the
breaths of anger accompanied by smoke-like thoughts of Keshava's
destruction and was consumed by the fire of mental anxiety (62).
His lips trembling in anger and the painted lines on his forehead
being washed off by perspiration his body appeared like the crimson-
coloured sun (63). As dew-drops, falling from a tree, appear when
smitten by the rays of the sun so appeared the drops of perspiration
falling from his face reddened with anger (64). Thereupon greatly
worked up with anger Kansa issued a mandate to dreadful persons,
saying:—"Turn out of the arena these two sinful, grim-visaged and
forest-ranging young cow-herds. I do not wish to see them. Amongst
the Gopas none deserves residence in my territory (65–66). This
Nanda Gopa is wicked and is bent upon committing injury to me.
Therefore assail him with iron chains and spikes (67). Although
Vasudeva is my kinsman he is highly wicked. Therefore punish him
even today in such a way which persons not, aged, deserve (68).
The other inferior Gopas, whom you see, are all devoted to Krishna.
Therefore take away from them their kine and other riches" (69).
Whilst the harsh-speeched Kansa thus issued the mandate,
Vāsudeva, having truth for his prowess, eyed him with eyes
expanded in anger (70). Beholding his father Vasudeva and Nanda
insulted, his kinsmen distressed and Devaki unconscious he was
greatly worked up with anger (71). Desirous of ascending Kansa's
pavillion in order to kill him, the powerful, large-armed and eternal
Krishna, with the velocity of a lion, began to leap in the arena before
him like a cloud driven by the wind (72-73). Only the citizens, seated
on the side of Kansa, saw him when he leaped in the arena (74).
Kansa was completely possessed by Destiny and so he considered
Govinda coming down from the sky (75). There upon stretching his
own Parigha-like arms Krishna drew Kansa by the hair in the arena
(76). Assailed by Krishna's hands his golden crown, set with
diamonds, fell down on earth from his head (77). When Vāsudeva
held Kansa by the hair he became motionless, overwhelmed and
agitated and began to breath like one lifeless. He was not capable of
seeing even Krishna's face (78). His ears were divested of Kundalas,
his necklace was torn off, his arms grew lengthened and his body
was shorn of ornaments and body-cloth (80). Thus possessed by
divine effulgence Kansa's face grew bewildered and he set forth
many an exertion (81). Coming down from the pavillion and holding
Kansa, deserving of pain, by the hair with force Keshava began to
drag him in the arena (82). The highly effulgent king of Bhoja being
thus dragged by Krishna, a ditch was made by his body in the arena
(83). Thus sporting in the arena when Kansa breathed his last
Krishna threw away his body at no distance (84). Thus struck
Kansa's body, used to luxuries, was grinded on the ground and
covered with dust (85). His closed eyes and dark face, without the
crown, were shorn of beauty like a lotus without leaves (86). Slain
not in a battle and his body not wounded with shafts and killed by
being dragged by the hair Kansa was driven away from the path of
heroes (87). But on his body were all on a sudden seen marks of
nails set by Keshava, which mutilated his flesh and destroyed his life
(88).
Having thus slain Kansa and removed his thorns and being
endued with twofold effulgence in delight the lotus-eyed Krishna first
touched Vasudeva's feet. And afterwards the descendant of Yadu
bowed at the feet of his mother. She too sprinkled him with torrents
of tear begotten by joy (89-90). Thereupon shining in his own
effulgence Mādhava, according to rank and age, enquired after the
well-being of all other Yadavas (91). Holding powerfully by his hands
the proud brother of Kansa, by name Urgita, the virtuous-souled
Baladeva killed him (92). Thus having conquered their enemies and
subdued their anger, those two heroes, brought up in Vraja, went
delightedly to their father's house (93).

[266] The meaning is:—In a wrestling match one gives no proof

of his power and performs no good deed because it is mere
an idle amusement. And so the one slain does not go to
heaven and the one successful secures no glory.
CHAPTER LXXXVI. LAMENTATIONS OF
KANSA'S WIVES.

Vaishampayana said:—Beholding their husband slain and fallen

Kansa's wives encircled him like planets of decreasing lustre (1).
Beholding their lion-like royal husband slain and lying down on earth
his wives began to bewail (2). "O thou of large arms, a hero, ever
observant of heroic vows like thyself, being slain, we all, being the
wives of a hero, have become friendless and all our hopes have been
frustrated (3). O foremost of kings, seeing this thy ordained death
we are plaintively bewailing along with our relatives (4). O highly
powerful lord, thyself being dead and cast off by thee we have our
roots cut off (5). Alas! When stricken with sexual desire we will
tremble in anger like creepers. Who will take us to the bed-room
(6)? O gentle one, is it meet that the sun should scorch thy
charming face full of breaths like a lotus without water (7)? O thou
who wert ever fond of Kundalas! Divested of Kundalas, thy ears,
attached to thy neck, are not shining well (8). O hero, where is that
crown crested with jewels and effulgent like the sun that used to
increase greatly the beauty of thy head (9)? Thyself repairing to the
other world, how will these thy thousand wives, ever gracing thy
inner apartment, pass their days poorly (10)? Chaste wives are
never disappointed from their enjoying in the company of their
husband nor are they forsaken by him; why dost thou then leave us
behind (11)? Alas! Time is highly powerful; for although a death to
thy enemies thou art being speedily taken away by Time who carries
on his work in order (12). O lord, we are unworthy of sorrow and
have been brought up by thee in happiness. Being deprived of our
lord and miserly how shall we spend our days (13). A husband is the
only refuge unto those women who care for their character. But the
powerful Death has killed such a husband of ours (14). Possessed by
widowhood in thy absence and sunk in the deep ocean of
lamentations, where shall we repair, with hearts stricken with sorrow
(15)? Alas! fickle is the movement of men. Sporting on thy lap we
were spending our days with thee. Now in a moment we have been
separated from thee (16). O thou the conferrer of honors, thyself
meeting with this calamity, we have been visited by disasters. It
seems, we all perpetrated a similar iniquity for we have all in the like
manner, met with widowhood (17). Alas! We were all fond of thee
and thou didst take care of us with heavenly enjoyments. Casting us
off where dost thou go now (18)? O lord of the world, O giver of
honors, O thou resembling a celestial, thou art our master who have
been separated from their lord. O lord, we are bewailing like hind; it
behoves thee to give us a reply (19). O lord sovereign, thy
departure, making thy kinsmen sorrowful and thy wives bewail,
appears (to us) as terribly hard (20). Forsooth it appears O lord, that
the damsels of the other world are more beautiful, because, O hero,
thou hast departed leaving behind thy own people (21). What is the
reason O hero, that thou dost pay no heed to the lamentations of
thy wives (22). Alas, the march of men to the other world is
ruthless, because without caring for them they even forsake their
own wives (23). It is better for women not to have husbands than
beloved, heroic husbands, because they love the women of the
celestial region and they too are fond of heroes (24). Alas! carrying
away imperceptibly such a heroic husband Death has pierced our
very vitals (25). O lord of the world, having slain the army of
Jarāsandha and vanquished the other enemies in battle why hast
thou met with death at the hands of an ordinary man (26)? Alas!
Fighting with Indra in a combat of arrows thou wert not defeated by
the immortals. How hast thou been then slain by a mortal (27)?
Having agitated, with a shower of arrows, the ocean that is
incapable of being moved thou didst conquer Varuna the holder of
the noose, and take away all his riches (28). When Vāsava did not
pour profuse showers, thou didst, for the citizens, bore through the
clouds with thy arrows and bring down rain by force (29). By thy
prowess all kings were humiliated and used to send thee the
precious jewels and clothes (30). Alas, thy manliness was manifest
unto thy enemies and thou wert like a god. How has then such a
life-ending calamity befallen thee (31)? Thyself being slain O lord,
we are passing by the name of widows. Although not mad we have
become so and have been assailed by death (32). O lord, if thou
wert determined upon departing why hast thou then forgotten us?
Would it have tired thee if thou hadst say it in mere words (33)? O
lord, O king of Mathurā, we bow unto thy feet in fear. Be thou
propitiated and return from the distant land (34). O hero, how dost
thou lie down on grass and dust? Prostrating thyself on earth does
not thy body feel any inconvenience (35)? Alas, who has inflicted on
us this stroke of sleep? Who has ruthlessly struck the body of these
women (36)? The woman, who has to survive, should weep and
repent. Why should we weep when we are to follow our husband
(37)?"
 In the meantime trembling poorly and crying aloud "Where is
my son? Where is my child?" Kansa's mother arrived there (38).
Beholding her son like unto the moon shorn of its lustre her heart as
if broke assunder and she repeatedly lost her consciousness (39).
Beholding her son and exclaiming "Alas! I am undone!" she began to
bewail along with her daughters-in-law (40). Placing on her lap the
head of her son, that one, fond of sons, began to bewail plaintively
saying "O my son, O thou the enhancer of the delight of thy
kinsmen, O thou ever devoted to the vow of a hero, why hast thou
departed so soon? O my son observant of vows, why art thou asleep
before all men? The kings should never lie down on earth in this way
(41–43). When in the days of yore all the Rākshasas assembled
Rāvana, the foremost of the strong in all the worlds, uttered the
following verse, spoken well of by the sages (44). 'Although I am of
great strength and a destroyer of the immortals, a terrible and
irresistable calamity will proceed to me from my kinsmen (45). And
such a life-destroying great calamity will also proceed to my
intelligent son from my relatives (46)'". Thereupon weeping like unto
a cow, separated from her calf, she said to her husband the old king
Ugrasena (47). "Come and see, O pious king, this thy royal son is
lying on the bed of a hero like a mountain clapped by a thunderbolt
(48). O king, you are to perform the obsequial rites of this thy son
who has repaired to the abode of Death and attained to the state of
a ghost (49). Kingdoms are worthy of being enjoyed by heroes and
we have been defeated. Go and ask Krishna about Kansha's funeral
rites (50). Enmity terminates with death—it ceases with the death of
the enemy. His obsequial rites should therefore be performed. What
offence has the dead body committed (51)?" Having said this to the
Bhoja king with a heart laden with sorrow and casting her looks
again on the face of her son Kansa's mother began to bewail anew,
saying (52): "O king, what will thy wives do hereafter, who, even
having obtained a husband like thee, have their desires frustrated?
(53) How shall I now see thy aged father dried up under the
subjection of Krishna like water in the pool (54)? O my son, I am thy
mother, why dost thou not speak to me? Leaving behind thy beloved
people thou hast departed to a distant land (55). O hero, the
inevitable Death has, against the knowledge of this unfortunate
woman, taken away a son like thee well-read in moral laws (56). O
the master of thy clan, thy servants, who were pleased with thy
qualities on receiving honors and various presents from thee, are
now weeping (57). O foremost of kings, O thou of large arms and
great strength, rise up and save the people of thy house and other
poor men (58)."
While the wives of Kansa, stricken with great misery, were thus
bewailing the sun, smitten with evening rays, set in (59).
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