नैषधीयचरितम् — पञ्चदशः सर्गः

अथोपकार्या निषधावनीपतिः
निजामयासीद्वरणस्रजाञ्चितः ।
वसूनि वर्षन्सुबहूनि बन्दिनां
विशिष्यभैमीगुणकीर्तनाकृताम् ॥

Summary AI Then Nala, the lord of Nishadha, adorned with the wedding garland, went to his own royal tent, showering abundant riches upon the bards, especially those who were engaged in singing the praises of Damayanti's virtues.

१५.२

तथा पथि त्यागमयं वितीर्णवा-
न्यथातिभाराधिगमेन मागधैः ।
तृणीकृतं रत्ननिकाय मुच्चकैः
चिकाय लोकश्चिरमुञ्छमुत्सुकः ॥

Summary AI Nala distributed wealth so generously on his path that the eager populace, for a long time, gleaned the heaps of gems that had been discarded by the Magadhan kings as mere straw because they were too heavy to carry.

१५.३

त्रपास्य न स्यात्सदसि स्त्रियान्वया-
त्कुतोऽतिरूपः सुखभाजनं जनः ।
अमूदृशी तत्कविबन्दिवर्णनैः
अवाक्कृता राजकरञ्जिलोकवाक् ॥

Summary AI He (Nala) would feel no shame in the assembly due to his association with a woman. However, the common talk among kings, which was of this nature: 'How can such an exceedingly handsome person be a vessel of happiness?', was silenced by the descriptions of his poets and bards.

१५.४

अदोषतामेव सतां विवृण्वते
द्विषां मृषादोषकणाधिरोपणाः ।
न जातु सत्ये सति दूषाणे भवे-
दलीकमाधातुमवद्यमुद्यमः ॥

Summary AI The false imputations of minute faults by enemies only reveal the faultlessness of good people. Indeed, if a real fault existed, there would never be an effort to impute a contemptible, false one.

१५.५

विदर्भराजोऽपि समं तनूजया
प्रविश्य हृष्यन्नवरोधमात्मनः ।
शशंस देवीमनुजातसंशयां
प्रतीच्छ जामातरमुत्सुके नलम् ॥

Summary AI The rejoicing king of Vidarbha, entering his inner apartments with his daughter, spoke to the queen, who had grown doubtful: 'O eager one, accept Nala as your son-in-law.'

१५.६

तनुत्विषा यस्य तृणं स मन्मथः
कुलश्रिया यः पवितास्मदन्वयम् ।
जगत्त्रयीनायकमेलके वरं
सुतां परं वेद विवेक्तुमीदृशम् ॥

Summary AI 'Kamadeva is but a blade of grass compared to his bodily splendor, and he will purify our lineage with his family's glory. I know that only my daughter is capable of choosing such a groom in an assembly of the lords of the three worlds.'

१५.७

सृजन्तु पाणिग्रहमङ्गलोचिता
मृगीदृशः स्त्रीसमयस्पृशः क्रियाः ।
श्रृतिस्मृतीनां तु वयं विदध्महे
विधीनिति स्माह च निर्ययौ च सः ॥

Summary AI 'Let the deer-eyed women perform the activities suitable for the auspicious wedding, in accordance with their customs. We men, however, shall perform the rites prescribed by the scriptures.' Saying this, he (King Bhima) departed.

१५.८

निरीय भूपेन निरीक्षितानना
शशंस मौहूर्तिकसंसदंशकम् ।
गुणैररीणैरुदयास्तनिस्तुषां
तदा स दातुं तनयां प्रचक्रमे ॥

Summary AI As the king was leaving, the queen, whose face he watched, announced the decision of the astrologers. Then he (the king) began the process of giving away his daughter, who was endowed with complete virtues and flawless from birth.

१५.९

अथावदद्दूतमुखः स नैषधं
कुलं च बाला च ममानुकम्प्यताम् ।
स पल्लवत्वद्य मनोरथाङ्क्रुर-
श्चिरेण नस्त्वच्चरणोदकैरिति ॥

Summary AI Then, King Bhima, through a messenger, said to Nala: 'May my family and my daughter be shown your compassion. May that long-cherished sprout of our desire blossom today, watered by the water from your feet.'

१५.१०

तथोत्थितं भीमवचःप्रतिध्वनिं
निपीय दूतस्य स वक्त्रगह्वरात् ।
व्रजामि वन्दे चरणौ गुरोरिति
ब्रुवन्प्रदाय प्रजिघाय तं बहु ॥

Summary AI Nala, having absorbed the echo of Bhima's words that arose from the messenger's mouth, said, 'I am coming; I bow to the feet of the venerable one.' After rewarding the messenger generously, he sent him away.

१५.११

निपीतदूतालपितस्ततो नलं
विदर्भभर्तागमयांबभूव सः ।
निशावसाने श्रुतताम्रचूडवा-
ग्यथा रथाङ्गस्तपनं धृतादरः ॥

Summary AI Then, the lord of Vidarbha, having heard the messenger's speech, summoned Nala. This was like a respectful Chakravaka bird, upon hearing the cock's crow at the end of the night, eagerly awaiting the arrival of the sun.

१५.१२

क्वचित्तदालेपनदानपण्डिता
कमप्यहंकारमगात्पुरस्कृता ।
अलम्भि तुङ्गासनसंनिवेशना-
दपूपनिर्माणविदग्धयादरः ॥

Summary AI During the preparations, a woman skilled in applying unguents, being honored for her work, felt a certain pride. Elsewhere, a woman expert in making cakes was shown respect by being given a high seat.

१५.१३

मुखानि मुक्तामणितोरणोद्गतै-
र्मरीचिभिः पान्थविलासमाश्रितैः ।
पुरस्य तस्याखिलवेश्मनामपि
प्रमोदहासच्छुरितानि रेजिरे ॥

Summary AI The facades of all the houses in that city shone, touched by rays from the pearl and gem arches. These rays, adopting the charm of travelers, made the buildings appear as if they were sprinkled with the laughter of joy.

१५.१४

पथामनीयन्त तथाधिवासना-
न्मधुव्रतानामपि दत्तविभ्रमाः ।
वितानतामातपनिर्भयास्तदा
पटच्छिदाकालिकपुष्पजाः स्रजः ॥

Summary AI Then, garlands made from cloth-pieces resembling unseasonal flowers, fearless of the sun, were stretched over the roads to form canopies. Their fragrance was so authentic that it even deluded the bees.

१५.१५

विभूषणैः कञ्चुकिता बभुः प्रजा
विचित्रचित्रैः स्नपितत्विषो गृहाः ।
बभूव तस्मिन्मणिकुट्टिमैः पुरे
वपुः स्वमुर्व्याः परिवर्तितोपमम् ॥

Summary AI The citizens, adorned with ornaments, shone as if wearing armor. The houses, decorated with various paintings, had their splendor enhanced. In that city, with its jeweled pavements, the very body of the earth seemed to have been transformed.

१५.१६

तदा निसस्वानतमां घनं घनं
ननाद तस्मिन्नितरां ततं ततम् ।
अवापुरुच्चैः सुषिराणि राणिताम्
अमानमानद्धमियत्तयाध्वनीत् ॥

Summary AI Then the festive music began: solid instruments (cymbals) sounded quickly and repeatedly; stringed instruments resounded continuously and intensely; wind instruments reached a high pitch; and percussion instruments sounded with immeasurable volume.

१५.१७

विपञ्चिराच्छादि न वेणुभिर्न ते
प्रणीतगीतैर्न च तेऽपि झर्झरैः ।
न ते हुहुक्केन न सोऽपि ढक्कया
न मर्दलैः सापि न तेऽपि ढक्कया ॥

Summary AI The sound of the lute was not drowned out by the flutes, nor the flutes by the songs, nor the songs by the cymbals, nor the cymbals by the Huhukka drum, nor it by the Dhakka drum, nor the Dhakka by the Mardala drums, nor even they by another Dhakka, creating a harmonious blend.

१५.१८

विचित्रवादित्रनिनादमूर्च्छितः
सुदूरचारी जनतामुखारवः ।
ममौ न कर्णेषु दिगन्तदन्तिनां
पयोधिपूरप्रतिनादमेदुरः ॥

Summary AI The clamor from the people, amplified by various musical instruments, traveled far and was as dense as the roar of the ocean. This immense sound was so great that it could not be contained even in the vast ears of the elephants guarding the cosmic directions.

१५.१९

उदस्य कुम्भीरथ शातकुम्भजाः
चतुष्कचारुत्विषि वेदिकोदरे ।
यथाकुलाचारमथावनीन्द्रजां
पुरन्ध्रिवर्गः स्नपयांबभूव ताम् ॥

Summary AI Then, a group of married women placed golden pitchers on a beautifully radiant quadrangle at the center of an altar. Following this, they bathed the princess, Damayanti, in accordance with their family customs.

१५.२०

विजित्य दास्यादिव वारिहारिताम्
अवापितास्तत्कुचयोर्द्वयेन ताः ।
शिखामवाक्षुः सहकारशाखिन-
स्त्रपाभरम्लानिमिवानतैर्मुखैः ॥

Summary AI The nearby mango trees, as if defeated by her pair of breasts and forced into the servitude of carrying water, bent their tops. With their drooping flowers as faces, they seemed to wither from the burden of shame.

१५.२१

असौ मुहुर्जातजलाभिषेचना
क्रमाद्दुकूलेन सितांशुनोज्ज्वला ।
द्वयस्य वर्षाशरदां तदातनीं
सनाभितां साधु बबन्ध संध्यया ॥

Summary AI Having just been bathed, Damayanti then shone brightly in a silk garment as white as the moon. In this state, she beautifully embodied the twilight that connects the two seasons of monsoon and autumn, establishing a kinship between them.

१५.२२

पुरा प्रभिन्नाम्बुददुर्दिनीकृतां
निनिन्द चन्द्रद्युतिसुन्दरीं दिवम् ।
शिरोरुहौघेण घनेन वर्षता
क्वचिद्दुकूलेन सितांशुनोज्ज्वला ॥

Summary AI With her thick mass of hair dripping water, she surpassed the sky on a rainy day caused by bursting clouds. And when wiped with a silk towel, she, radiant like the moon, surpassed the sky made beautiful by the moon's glow.

१५.२३

विरेजिरे तच्चिकुरोत्कराः किराः
क्षाणं गलन्निर्मलवारिविप्रुषाम् ।
तमःसुहृच्चामरनिर्जयार्जिताः
सिता वमन्तः खलु कीर्तिमुक्तिकाः ॥

Summary AI Her tresses, scattering drops of pure water, shone brightly. They seemed to be emitting white pearls of fame, earned by conquering the chauri-like darkness, their friend.

१५.२४

म्रदीयसा स्नानजलस्य वाससा
प्रमार्जनेनाधिकमुज्ज्वलीकृताः ।
अदभ्रमभ्राजत साश्मशाणना-
त्प्रकाशरोचिःप्रतिमेव हेमजा ॥

Summary AI Her hair, made exceedingly bright by being wiped with a very soft bathing towel, shone greatly. She herself shone intensely, like a golden statue whose brilliance is enhanced by being polished on a whetstone.

१५.२५

तदा तदङ्गस्य बिभर्ति विभ्रमं
विलेपनामोदमुचः स्फुरद्रुचः ।
दरस्फुरत्काञ्चनकेतकीदला-
त्सुवर्णमभ्यस्यति सौरभं यदि ॥

Summary AI If gold were to learn fragrance from a slightly trembling golden Ketaki petal, only then could it bear comparison to the splendid beauty of her limbs, which are naturally fragrant and have a throbbing lustre.

१५.२६

अवापितायाः शुचिवेदिकान्तरं
कलासु तस्याः सकलासु पण्डिताः ।
क्षणेन सख्यश्चिरशिक्षणैः स्फुटं
प्रतिप्रतीकं प्रतिकर्म निर्ममुः ॥

Summary AI After she was led to a pure dais, her friends, who were experts in all the arts, quickly and distinctly decorated each of her limbs, a skill they had perfected through long training.

१५.२७

विनापि भूषामवधिः श्रियामियं
व्यभूषि विज्ञाभिरदर्शि चाधिका ।
न भूषयैषाधिचकास्ति किं तु सा
नयेति कस्यास्तु विचारचातुरी विधाय ॥

Summary AI Even without ornaments, she is the pinnacle of beauty. Yet, she was adorned by her expert friends and was seen to be even more beautiful. She does not shine more because of the ornament; rather, the ornament shines more because of her. Having established this principle, what scope is there for any clever debate?

१५.२८

विधाय बन्धूकपयोजपूजने
कृतां विधोर्गन्धफलीबलिश्रियम् ।
निनिन्द लब्धाधरलोचनार्चनं
मनःशिलाचित्रकमेत्य तन्मुखम् ॥

Summary AI Her face, resembling the moon offering sandalwood paste to worship the Bandhuka flower (her lips) and the lotus (her eyes), scorned the decorative tilaka mark made of red arsenic. This was because the tilaka, having come on her forehead, was surpassed by the natural beauty of her lips and eyes.

१५.२९

महीमधोनां मदनान्धतातमी-
तमःपटारम्भणतन्तुसंततिः ।
अबन्धि तन्मूर्धजपाशमञ्जरी
कयापि धूपग्रहधूमकोमला ॥

Summary AI Her cluster of noose-like hair, delicate from absorbing the smoke of incense, was tied by one of her friends. This mass of hair was like a collection of threads for weaving the dark cloth of the night, which is the blindness of passion for the kings of the earth.

१५.३०

पुनःपुनः काचन कुर्वती कच-
च्छटाधिया धूपजधूमसंयमम् ।
सखी स्मितैस्तर्किततन्निजभ्रमा
बबन्ध तन्मूर्धजचामरं चिरात् ॥

Summary AI One of the friends, mistaking the thick smoke rising from the incense for Damayanti's mass of hair, repeatedly tried to tie it. Realizing her mistake from the smiles of the other friends, she finally, after some delay, tied the actual chauri-like hair of Damayanti.

१५.३१

बलस्य कृष्टेव हलेन भाति या
कलिन्दकन्या घनभङ्गभङ्गुरा ।
तदार्पितैस्तां करुणस्य कुड्मलैः
जहास तस्याः कुटिला कचच्छटा ॥

Summary AI Damayanti's curly mass of hair, decorated with buds of the Karuna tree, seemed to laugh at the river Yamuna. The Yamuna, with its dark, wavy ripples, looks as if it were being dragged by the plough of Balarama, and Damayanti's hair surpassed it in its curly beauty.

१५.३२

धृतैतया हाटकपट्टिकालिके
बभूव केशाम्बुदविद्युदेव सा ।
मुखेन्दुसंबन्धवशात्सुधाजुषः
स्थिरत्वमूहे नियतं तदायुषः ॥

Summary AI The golden fillet worn by her on her forehead shone like lightning in the cloud of her hair. The poet infers that because of its contact with her nectar-filled moon-like face, this lightning (the fillet), unlike natural lightning, certainly attained a long and stable life.

१५.३३

ललाटिकासीमनि चूर्णकुन्तला
बभुः स्फुटं भीमनरेन्द्रजन्मनः ।
मनःशिलाचित्रकदीपसंभवा
भ्रमीभृतः कज्जलधूमवल्लयः ॥

Summary AI On the edge of the forehead ornament of Damayanti, daughter of King Bhima, her curly locks of hair clearly shone. They appeared like whirling wreaths of black smoke rising from the lamp that was her tilaka mark made of red arsenic.

१५.३४

अपाङ्गमालिङ्ग्य तदीयमुच्चकै-
रदीपि रेखा जनिताञ्जनेन या ।
अपाति सूत्रं तदिव द्वितीयया
वयःश्रिया वर्धयितुं विलोचने ॥

Summary AI The line of collyrium, extending long and embracing the outer corner of her eye, shone brightly. It seemed as if a second measuring line was cast by the beauty of her youth itself, in order to lengthen her eyes.

१५.३५

अनङ्गलीलाभिरपाङ्गधाविनः
कनीनिकानीलमणेः पुनः पुनः ।
तमिस्रवंशप्रभवेन रश्मिना
स्वपद्धतिः सा किमरञ्जि नाञ्जनैः ॥

Summary AI The path of her glance, which repeatedly darted to the corners of her eyes due to the play of love, was already colored by the dark rays of the sapphire-like pupils. Was it the collyrium that colored it? No, its own natural darkness was sufficient.

१५.३६

असेविषातां सुषमां विदर्भजा-
दृशाववाप्याञ्जनरेखयाऽन्वयम् ।
भुजद्वयज्याकिणपद्धतिस्पृशोः
स्मरेण बाणीकृतयोः पयोजयोः ॥

Summary AI Having been joined with the line of collyrium, Damayanti's eyes attained the beauty of two lotuses. These lotuses were imagined as being made into arrows by Kama, arrows that could reach the line of calluses on Nala's arms, formed by the constant use of the bowstring.

१५.३७

तदक्षितत्कालतुलागसा नखं
निखाय कृष्णस्य मृगस्य चक्षुषी ।
विधिर्यदुद्धर्तुमियेष तत्तयो-
रदूरवर्तिक्षतता स्म शंसति ॥

Summary AI The slight redness near the black deer's eyes suggests that Brahma, the creator, once wished to pluck them out after digging his nail into them, as a punishment for the sin of daring to be a match for Damayanti's eyes.

१५.३८

विलोचनाभ्यामतिमात्रपीडिते
वतंसनीलाम्बुरुहद्वयीं खलु ।
तयोः प्रतिद्वन्द्विधियाधिरोपयां-
बभूवतुर्भीमसुताश्रुती ततः ॥

Summary AI Therefore, Damayanti's ears, as if acting with the intention of creating rivals for her eyes, placed a pair of blue lotuses as ear ornaments. These lotuses were already greatly tormented (i.e., faded) by the superior beauty of her eyes.

१५.३९

धृतं वतंसोत्पलयुग्ममेतया
व्यराजदस्यां पतिते दृशाविव ।
मनोभुवान्ध्यं गमितस्य पश्यतः
स्थिते लगित्वा रसिकस्य कस्यचित् ॥

Summary AI The pair of lotus ear-ornaments worn by her shone as if they were the very eyes of some connoisseur. Struck blind with passion by Kama, his eyes had fallen upon her, attached themselves, and remained there.

१५.४०

विदर्भपुत्रीश्रवणावतंसिका-
मणीमहःकिंशुककार्मुकोदरे ।
उदीतनेत्रोत्पलबाणसंभृति-
र्नलं परं लक्ष्यमवैक्षत स्मरः ॥

Summary AI Kama, holding a collection of arrows made from her upraised lotus-like eyes, looked upon Nala as his sole target. His bow was the red lustre of the gem in Damayanti's ear-ornament, which itself resembled a Kimshuka flower.

१५.४१

अनाचरत्तथ्यमृषाविचारणां
तदाननं कर्णलतायुगेन किम् ।
बबन्ध जित्वा मणिकुण्डले विधू
द्विचन्द्रबुद्ध्या कथितावसूयकौ ॥

Summary AI Did her face, without considering whether the accusation was true or false, conquer the two moons (her earrings), who were said to be envious, and bind them with her creeper-like ears, mistaking them for two actual moons?

१५.४२

अवादि भैमी परिधाप्य कुण्डले
वयस्ययाभ्यामभितः समन्वयः ।
त्वदाननेन्दोः प्रियकामजन्मनि
श्रयत्ययं दौरुधरीं धुरं ध्रुवम् ॥

Summary AI A friend, having made Bhaimi wear two earrings, said to her: "This combination of the two earrings on both sides of your moon-like face certainly plays the role of the two pans of a balance in enhancing your beauty, which gives rise to love."

१५.४३

निवेशितं यावकरागदीप्तये
लगत्तदीयाधरसीम्नि सिक्थकम् ।
रराज तत्रैव निवस्तुमुत्सुकं
मधूनि निर्धूय सुधासधर्मणि ॥

Summary AI A piece of beeswax, placed on the edge of her lip to enhance the brilliance of the red lac-dye, shone as if it were eager to reside right there on her nectar-like lip, having rejected all other nectars.

१५.४४

स्वरेण वीणेत्यविशेषणं पुरा
स्फुरत्तदीया खलु कण्ठकन्दली ।
अवाप्य तन्त्रीरथ सप्त मुक्तिका-
सरानराजत्परिवादिनी स्फुटम् ॥

Summary AI Previously, her shoot-like throat, by its very tone, was simply a 'Veena' without any specific qualifier. Then, having obtained seven pearl necklaces like strings, it clearly shone like a 'Parivadini', a specific seven-stringed Veena.

१५.४५

उपास्यमानाविव शिक्षितुं ततो
मृदुत्वमप्रौढमृणालनालया ।
विरेजतुर्माङ्गलिकेन संगतौ
भुजौ सुदत्या वलयेन कम्बुनः ॥

Summary AI The two arms of the beautiful-toothed Damayanti, adorned with an auspicious bracelet made of conch-shell, shone as if they were being attended upon by a tender lotus-stalk in order to learn softness from it.

१५.४६

पदद्वयेऽस्या नवयावरञ्जना
जनैस्तदानीमुदनीयतार्पिता ।
चिराय पद्मौ परिरभ्य जाग्रती
निशीव विश्लिष्य नवा रविद्युतिः ॥

Summary AI At that time, fresh lac-dye was applied to her pair of feet by her attendants. It appeared like the new morning sunlight which, after separating from the two lotuses it had embraced and stayed awake with throughout the night, had just arrived.

१५.४७

कृतापराधः सुतनोरनन्तरं
विचिन्त्य कान्तेन समं समागमम् ।
स्फुटं सिषेवे कुसुमेषुपावकः
स रागचिह्नश्चरणौ न यावकः ॥

Summary AI Anticipating her subsequent union with her beloved, it was clearly the fire of Kamadeva, disguised as the red mark of passion, that served her feet, as if seeking forgiveness for a past offense—it was not merely lac-dye.

१५.४८

स्वयं तदङ्गेषु गतेषु चारुतां
परस्परेणैव विभूषितेषु च
किमूचिरेऽलंकरणानि तानि
तद्दृतैव तेषां करणं बभूव
यत्

Summary AI Since her limbs were already beautiful by themselves and adorned by each other, what purpose did those ornaments serve? Indeed, the very fact of being worn by her was what made them ornaments.

१५.४९

क्रमाधिकामुत्तरमुत्तरं श्रियं
पुपोष यां भूषणचुम्बनैरियम् ।
पुरः पुरस्तस्थुषि रामणीयके
तया बबाधेऽवधिबुद्धिधोरणिः ॥

Summary AI She nourished a beauty that successively increased with each 'kiss' of an ornament. As this loveliness stood ever advancing, it obstructed any possibility of conceiving a limit to her beauty.

१५.५०

मणीसनाभौ मुकुरस्य मण्डले
बभौ निजास्यप्रतिबिम्बदर्शिनी ।
विधोरदूरं स्वमुखं विधाय सा
निरूपयन्तीव विशेषमेतयोः ॥

Summary AI She, seeing the reflection of her own face in the jewel-studded center of the mirror, shone as if she were placing her face near the moon (in the mirror) to ascertain the difference in beauty between the two.

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