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King Nala's life is idyllic - until a cunning cousin tricks him out of his kingdom. Can the love of his beautiful Damayanti survive such a calamity? Will they be able to win bISBN: happiness? Full of twists and turns, the story of this ideal couple is told in the Mahabharata.
The tale of Nala and Damayanti is a complex mythological romance that predates the epic Mahabharata. Narrated by the sage Vrihadaswa in the Vana Parva (Book of the Forest) of this epic, it has woven a magical spell on readers down the ages with its narration of: Golden-winged, celestial swans... Shape-shifting gods vying with humans to wed the most beautiful woman ever... Demons loading the dice to wreck a union blessed by the very gods... A serpent's venom transforming a king into a misshapen dwarf... Two lovers driven apart, and later reunited, through an unheard of second swayamvar (self-choice of a husband) by a renowned princess, in Indian history. It's regarded as the greatest love story ever told and retold down the ages in almost every regional language of India. Historians, Poets and Dramatists the world over have waxed eloquent about the love of Nala and Damayanti: "His thoughts were with a face his dreams had seen Diviner than the jasmine's moon-flaked glow, He listened to a name his dreams had learned Sweeter than the passion of a crooning bird." - Sri Aurobindo, The Tale of Nala (incomplete) 'Suddenly, in human language, the swan spoke: "Damayanti, in Nishadha, dwells the noble king - like the Ashwins in beauty, peerless among men is he..".' Reverend Henry Hart Milman - Historian, Poet and Dramatist "The story of Nala and Damayanti is without doubt one of the most beautiful stories in the world..." - Norman N. Penzer, Fellow of the Royal Geographic Society, London
Three things come together in the series of paintings depicted in this book: a great text, a delectable old romance, and the work of one of the most talented families of painters. The text is the 12th century Naishadhacharita of Sriharsha, one of the last great kavyas of Sanskrit literature; the story, told with the utmost delicacy, centres around the intense love that grew - mutual sights heard of, but yet unseen - between King Nala and Princess Damayanti. The painter family that produced this exquisitely painted series came from the small principality of Guler in the "Pahari" hills: today's Himachal Pradesh. The intent of the painter/s was to cover the story in close to 110 paintings, but only 47 paintings could be completed all of them now in the collection of the Amar Mahal Museum and Library at Jammu, and here published the remaining having survived only in the form of highly finished drawings. Contents: Foreword; List of Plates and List of Figures; Pahari Paintings of the Nala-Damayanti Theme: An Essay; Colour Plates with Notes; Sanskrit Text of Chitrarthadipika with Translation; Appendix I: Preliminary Sanguine Drawings of the Nala-Damayanti Series; Appendix II: Select Word List with Diacritics; Select Bibliography; Acknowledgements; Index.
When Brahma the creator, fed up with humans, wants to undo this mistake and erase them, Hemanga the swan is horrified and pleads with Brahma to give him a chance to prove true love exists among mankind. The little bird, however, is sent to the kingdom of Vidarbha by Narada. That celestial troublemaker says Hemanga should unite Nala, the king of Nishadas, with Damayanti, the princess of Vidharbha. Damayanti is a feisty beauty who has a mind of her own. She is no damsel in distress and has no need for a prince to rescue her. Nor has Nala any interest in finding love, for he is building a city for his tribe. Besides, he is a tribal king and thinks Damayanti is too above his position. Hemanga almost succeeds in making them fall in love with each other when Kali hears of his plan. Trapped on earth as he is not the creator of Brahma, he can't be free unless humans cease to exist. When he learns about Hemanga's mission to save humans, he seizes his chance. If Damayanti gives up Nala, he can prove that no true love exists in a woman's heart. Brahma will erase the human race and Kali will be free. All that stands between the future of humans and the mighty Kali is a little bird and the determination of Damayanti.
Originally published in 1882, this book contains a story from section 52 of the Mahabharata concerning the king Nala and his virtuous wife Damayanti, known as the Nalopakhyanam. The text is transliterated from the original Sanskrit into Roman characters and is accompanied by a detailed vocabulary list. This book will be of use to Sanskrit students of any ability and scholars of Hindu mythology.
Henry Hart Milman's 'Nala and Damayanti and Other Poems' is a collection of epic poems that delves into themes of love, betrayal, and fate. Written in a classical poetic style reminiscent of Homer and Virgil, Milman weaves a captivating narrative of the doomed love story between Nala and Damayanti, two legendary figures from Indian mythology. The rich symbolism and vivid imagery used in the poems transport the reader to a bygone era, where love and destiny collide in a tumultuous dance. Milman's skillful use of language and meter adds depth and emotion to the characters and events, creating a truly immersive reading experience. 'Nala and Damayanti and Other Poems' is a masterpiece of literary craftsmanship that continues to resonate with readers today.
Written in the twelfth century, the Naisadhiyacarita (The Adventures of Nala, King of Nisadha) is a seminal Sanskrit poem beloved by South Asian literary communities for nearly a millennium. This volume introduces readers to the poem’s author, his reading communities, the modes through which the poem has been read and used, the contexts through which it became canonical, its literary offspring, and the emotional power it still holds for the culture that values it. The study privileges the intellectual, affective, and social forms of cultural practice informing a region’s people and institutions. It treats literary texts as traditions in their own right and draws attention to the critical genres and actors involved in their reception.
Presents the Indian literatures, not in isolation in one another, but as related components in a larger complex, conspicuous by the existence of age-old multilingualism and a variety of literary traditions. --