नैषधीयचरितम् — अष्टादशः सर्गः

सोऽयमित्थमथ भीमनन्दिनीं
दारसारमधिगम्य नैषधः ।
तां तृतीयपुरुषार्थवारिधेः
पारलम्भनतरीमरीरमत् ॥

Summary AI Then, this king of Niṣadha, Nala, having thus obtained Bhīma's daughter, the best among wives, delighted in her, making her the boat to cross the ocean of the third human pursuit (kāma, or desire).

१८.२

आत्मवित्सह तया दिवानिशं
भोगभागपि न पापमाप सः ।
आहृता हि विषयैकतानता
ज्ञानधौतमनसं न लिम्पति ॥

Summary AI That knower of the Self (Nala), though enjoying pleasures with her day and night, did not incur any sin. For, intense focus on sense objects, even when indulged in, does not stain a mind that has been purified by knowledge.

१८.३

न्यस्य मन्त्रिषु स राज्यमादरा-
दारराध मदनं प्रियासखः ।
नैकवर्णमणिकोटिकुट्टिमे
हेमभूमिभृति सौधभूधरे ॥

Summary AI Accompanied by his beloved, he respectfully entrusted the kingdom to his ministers. Then, in his mountain-like palace, which resembled a golden mountain with floors paved with millions of multi-colored gems, he worshipped the god of love.

१८.४

वीरसेनसुतकण्ठभूषणी-
भूतदिव्यमणिपङ्क्तिशक्तिभिः ।
कामनोपनमदर्थतागुणा-
द्यस्तृणीकृतसुपर्वपर्वतः ॥

Summary AI By the powers of the rows of divine gems that became the ornament on the neck of Virasena's son (Nala), and due to the quality of providing any desired object, that palace made Mount Meru, the mountain of the gods, seem as insignificant as a blade of grass.

१८.५

धूपितं यदुदरान्तरं चिरं
मेचकैरगरुसारदारुभिः ।
जालजालधृतचन्द्रचन्दन-
क्षोदमेदुरसमीरशीतलम् ॥

Summary AI The interior of that palace was long perfumed with the dark, fragrant wood of the aloe tree, and was cooled by breezes made thick with the powder of camphor and sandalwood held in its many lattices.

१८.६

क्वापि कामशरवृत्तवर्तयो
यं महासुरभितैलदीपिकाः ।
तेनिरे वितिमिरं स्मरस्फुर-
द्दोःप्रतापनिकराङ्कुरश्रियः ॥

Summary AI Somewhere in that palace, lamps filled with highly fragrant oil, whose wicks were made from Kama's arrows, dispelled the darkness. Their flames resembled the splendor of the sprouting prowess from the radiant arms of the god of love.

१८.७

कुङ्कुमैणमदपङ्कलेपिताः
क्षलिताश्च हिमवालुकाम्बुभिः ।
रेजुरध्वततशैलजस्रजो
यस्य मुग्धमणिकुट्टिमा भुवः ॥

Summary AI The floors of his palace, paved with beautiful gems, were smeared with a paste of saffron and musk, then washed with camphor-scented water. Adorned with garlands of stone-born flowers strewn along the paths, they shone brilliantly.

१८.८

नैषधाङ्गपरिमर्दमेदुरा-
मोदमाऋदवमनोज्ञवर्णया ।
यद्भुवः क्वचन सूनशय्यया-
भजि भालतिलकप्रगल्भता ॥

Summary AI In some places on the floor of that palace, a bed of flowers, which had acquired a rich fragrance, softness, and lovely color from contact with Nala's body, attained the prominence of a decorative mark on the forehead (of the floor).

१८.९

क्वापि यन्निकटनिष्कुटस्फुर-
त्कोरकप्रकरसौरभोर्मिभिः ।
सान्द्रमाद्रियत भीमनन्दना-
नासिकापुटकुटीकुटुम्बिता ॥

Summary AI Elsewhere, the state of being a resident in the cottage-like nostrils of Bhima's daughter (Damayanti) was intensely honored by the waves of fragrance from the clusters of blossoming buds in the nearby pleasure gardens of the palace.

१८.१०

ऋद्धसर्वऋतुवृक्षवाटिका-
कीरकृत्तसहकारशीकरैः ।
यज्जुषः स्म कुलमुख्यमाशुगः
प्राणवातमुपदाभिरञ्चति ॥

Summary AI The wind, serving that palace, used to worship the chief of its lineage, the vital breath (of Nala), with offerings of fine sprays from mango blossoms cut by parrots in the gardens, which flourished with trees of all seasons.

१८.११

कुत्रचित्कनकनिर्मिताखिलः
क्वापि यो विमलरत्नजः किल ।
कुत्रचिद्रचितचित्रशालिकः
क्वापि चास्थिरविधैन्द्रजालिकः ॥

Summary AI That palace was, in some places, made entirely of gold; in others, it was born of flawless gems. Somewhere it had constructed picture galleries, and elsewhere it appeared like the work of a magician, with ever-changing forms.

१८.१२

चित्रतत्तदनुकार्यविभ्रमा-
धाय्यनेकविधरूपरूपकम् ।
वीक्ष्य यं बहु धुवञ्शिरो जरा-
वातकी विधिरकल्पि शिल्पिराट् ॥

Summary AI Beholding that palace, which presented various forms through paintings and lifelike models creating illusions, the creator Brahma, shaking his head much in admiration and afflicted with the palsy of old age, was deemed the king of artisans.

१८.१३

भित्तिगर्भगृहगोपितैर्जनै-
र्यः कृताद्भुतकथादिकौतुकः ।
सूत्रयन्त्रजविशिष्टचेष्टया-
श्चर्यसञ्जिबहुशालभञ्जिकः ॥

Summary AI In that palace, people hidden within secret chambers in the walls created wonders with amazing stories. It also featured many statues (śālabhañjikās) that moved in special, astonishing ways, operated by strings and mechanisms.

१८.१४

तामसीष्वपि तमीषु भित्तिगै
रत्नरश्मिभिरमन्द्रचन्द्रिकः ।
यस्तपेपि जलयन्त्रपातुका-
सारदूरधुततापतन्द्रिकः ॥

Summary AI That palace, even on the darkest nights, was filled with brilliant moonlight from the rays of gems embedded in its walls. And even in the summer heat, the weariness caused by warmth was driven far away by showers of water falling from fountains.

१८.१५

यत्र पुष्पशरशास्त्रकारिका-
सारिकाध्युषितनागदन्तिका ।
भीमजानिषधसार्वभौमयोः
प्रत्यवैक्षत रते कृताकृते ॥

Summary AI In that palace, a female parrot (Sārikā), perched on a peg and reciting verses from the Kāmaśāstra, observed the rights and wrongs (the proper and improper actions) during the lovemaking of Damayantī and the emperor of Niṣadha.

१८.१६

यत्र मत्तकलविङ्कशीलिता-
श्लीलकेलिपुनरुक्तवत्तयोः ।
क्वापि दृष्टिभिरवापि वापिको-
त्तंसहंसमिथुनस्मरोत्सवः ॥

Summary AI Where, through the glances of those two (Nala and Damayanti), the festival of love of a swan couple, who were like ornaments to a step-well, was perceived somewhere, as if it were a repetition of the indecent amorous play practiced by intoxicated sparrows.

१८.१७

यत्र वैणरववैणवस्वरै-
र्हुंकृतैरुपवनीपिकालिनाम् ।
कङ्कणालिकलहैश्च नृत्यतां
कुब्जितं सुरतकूजितं तयोः ॥

Summary AI Where the murmurs of love-making of those two (Nala and Damayanti) as they danced were rendered indistinct by the sounds of lutes and flutes, by the cooing of rows of garden cuckoos, and by the jingling of their sets of bangles.

१८.१८

सीत्कृतान्यशृणुतां विशङ्कयो-
र्यत्प्रतिष्ठितरतिस्मरार्चयोः ।
जालकैरपवरान्तरेऽपि तौ
त्याजितैः कपटकुड्यतां निशि ॥

Summary AI At night, even inside the inner apartment, Rati and Kama heard the passionate cries of that fearless couple (Nala and Damayanti), who had established their worship, through the lattices which were made to abandon their deceptive nature as walls.

१८.१९

कृष्णसारमृगशृङ्गभङ्गुरा
स्वादुरुज्ज्वलरसैकसारिणी ।
नानिशं त्रुटति यन्मुखे पुरा
किन्नरीविकटगीतिझंकृतिः ॥

Summary AI In whose (Damayanti's) mouth, the resonance of an intense Kinnari song—delicate like the curved horn of a black antelope and the sole stream of sweet and brilliant sentiment—formerly never ceased.

१८.२०

भित्तिचित्रलिखिताखिलक्रमा
यत्र तस्थुरितिहाससंकथाः ।
पद्मनन्दनसुतारिरंसुता-
मन्दसाहसहसन्मनोभुवः ॥

Summary AI Where historical tales remained, with all their sequences depicted in wall paintings—tales in which Kamadeva laughs at the great audacity of the desire to sport with the enemy (Vishnu) of Brahma's daughter (Saraswati).

१८.२१

पुष्पकाण्डजयडिण्डिमायितं
यत्रगौतमकलत्रकामिनः ।
पारदारिकविलाससाहसं
देवभर्तुरुदटङ्कि भित्तिषु ॥

Summary AI Where, on the walls, was engraved the audacious adulterous sport of Indra, the lord of the gods, who desired Gautama's wife (Ahalya)—an act that served as the victory drum for Kamadeva, the wielder of the flower-arrow.

१८.२२

उच्चलत्कलरवालिकैतवा-
द्वैजयन्तविजयार्जिता जगत् ।
यस्य कीर्तिरवदायति स्म सा
कार्तिकीतिथिनिशीथिनीस्वसा ॥

Summary AI The fame of this palace, acquired by conquering Vaijayanta (Indra's palace) and which was like a sister to the midnight of the full moon day of Kartika, was purifying the world under the pretext of the rising rows of sweet sounds.

१८.२३

गौरभानुगुरुगेहिनीस्मरो-
द्वृत्तभावमितिवृत्तमाश्रिताः ।
रेजिरे यदजिरेऽभिनीतिभि-
र्नाटिका भरतभारतीसुधा ॥

Summary AI In its courtyard, short plays—like the nectar of Bharata's dramatic art—were brilliantly performed, based on the plot of the unrestrained passion of the Moon for Tara, the wife of his preceptor Brihaspati.

१८.२४

शंभुदारुवनसंभुजिक्रिया-
माधवव्रजवधूविलासयोः ।
गुम्फितैरुशनसा सुभाषितै-
र्यस्य हाटकविटङ्कमङ्कितम् ॥

Summary AI Its golden dovecots were inscribed with epigrams composed by Ushanas (Shukracharya), describing the amorous acts of Shiva in the Daruka forest and the sports of Krishna with the women of Vraja.

१८.२५

अह्नि भानुभुवि दाशदारिकां
यच्चरः परिचरन्तमुज्जगौ ।
कालदेशविषायासहात्स्मरा-
दुत्सुकं शुकपितामहं शुकः ॥

Summary AI A parrot, a servant in that palace, sang about the grandfather of parrots (Vyasa), who, eager with a love that was unbearable and unconstrained by time or place, was attending upon the fisherman's daughter (Satyavati) on the bank of the Yamuna during the day.

१८.२६

नीतमेव करलभ्यपारता-
मप्रतीर्य मुनयस्तपोर्णवम् ।
अप्सरःकुचघटावलम्बना-
त्स्थायिना क्वचन यत्र चित्रगाः ॥

Summary AI Where, in some paintings, sages were depicted as having reached the other shore of the ocean of penance—a shore attainable by hand—not by crossing it, but by permanently clinging to the pot-like breasts of celestial nymphs.

१८.२७

स्वामिना च वहता च तं मया
स स्मरः सुरतवर्जनाज्जितः
योऽयमीदृगिति नृत्यते स्म
यत्केकिना मुरजनिस्वनैर्घन्-
ऐः

Summary AI The peacocks of that palace, with the clouds providing sounds like the beating of drums, danced as if to proclaim: "This Kamadeva, of such a nature, has been conquered by my master (Nala) and by me (Damayanti), through abstinence from love-making."

१८.२८

यत्र वीक्ष्य नलभीमसं भवे
मह्यतो रतिरतीशयोरपि ।
स्पर्धयेव जयतोर्जयाय ते
कामकामरमणीबभूवतुः ॥

Summary AI Where, having seen the glorious Nala and Damayanti, even Rati and Kama, as if in competition for the victory of the conquering couple, themselves became filled with desire.

१८.२९

तत्र सौधसुरभूधरे तयो-
राविरासुरथ कामकेलयः ।
ये महाकविभिरप्यवीक्षिताः
पांसुलाभिरपि ये न शिक्षिताः ॥

Summary AI Then, in that palace which was like Mount Meru, the love-sports of those two (Nala and Damayanti) manifested—sports that had not been conceived even by great poets, nor practiced even by unchaste women.

१८.३०

पौरुषं दधति योषिता नले
स्वामिनि श्रिततदीयभावया ।
यूनि शैशवमतीर्णया किय-
त्प्रापि भीमसुतया न साध्वसम् ॥

Summary AI When her youthful husband Nala assumed the passive role of a woman, how much timidity was not felt by Bhima's daughter, who had just crossed her girlhood and had taken on his active nature? (Meaning, she felt great timidity).

१८.३१

दूत्यसंगतिगतं यदात्मनः
प्रागशिश्रवदियं प्रियं गिरः ।
तं विचिन्त्य विनयव्ययं ह्रिया
न स्म वेद करवाणि कीदृशम् ॥

Summary AI This Damayanti, recalling the loss of modesty involved in the words she had previously spoken to her beloved in the context of his own messengership, became so ashamed that she did not know what to do.

१८.३२

यत्तया सदसि नैषाधः स्वयं
प्राग्वृतः सपदि वीतलज्जया ।
तन्निजं मनसिकृत्य चापलं
सा शशाक न विलोकितुं नलम् ॥

Summary AI Because she, devoid of shame, had herself quickly chosen the king of Nishadha in the assembly before, she, keeping that forwardness of hers in mind, was not able to look at Nala.

१८.३३

आसने मणिमरीचिमांसले
यां दिशं स परिरभ्य तस्थिवान् ।
तामसूयितवतीव मानिनी
न व्यलोकयदियं मनागपि ॥

Summary AI On the seat dense with the rays of gems, this proud lady (Damayanti), as if jealous, did not look even a little at the direction which he (Nala) was embracing as he sat.

१८.३४

ह्रीसरन्निजनिमज्जनोचितं
मौलिदूरनमनं दधानया ।
द्वारि चित्रयुवतिश्रिया तया
भर्तृहूतिशतमश्रुतीकृतम् ॥

Summary AI By her, who at the door possessed the beauty of a painted maiden and who was holding her head bowed low—a posture suitable for plunging herself into the lake of her shame—a hundred calls from her husband were rendered unheard.

१८.३५

वेश्म पत्युरविशन्न साध्वसा-
द्वेशितापि शयनं न साऽभजत् ।
भाजितापि सविधं न सास्वप-
त्स्वापितापि न च संमुखाभवत् ॥

Summary AI Out of timidity, she did not enter her husband's chamber. Even when led in, she did not go to the bed. Even when brought near, she did not sleep. And even when put to sleep, she did not turn her face towards him.

१८.३६

केवलं न खलु भीमनन्दिनी
दूरमत्रपत नैषधं प्रति ।
भीमजाहृदि जितः स्त्रिया ह्रिया
मन्मथोऽपि नियतं स लज्जितः ॥

Summary AI It was not just Bhima's daughter who felt shy towards Nala. Even Manmatha (Cupid), who was conquered in Damayanti's heart by her womanly modesty, was certainly ashamed.

१८.३७

आत्मनापि हरदारसुन्दरी
यत्किमप्यभिललाष चेष्टितुम् ।
स्वामिना यदि तदर्थमर्थिता
मुद्रितस्तदनया तदुद्यमः ॥

Summary AI Even if Damayanti, beautiful as Parvati, desired to make some move herself, if her husband requested her for that very thing, she would suppress her own initiative out of modesty.

१८.३८

ह्रीभराद्विमुखया तया भियं
सञ्जितामननुरागशङ्किनि ।
स स्वचेतसि लुलोप संस्मर-
न्दूत्यकालकलितं तदाशयम् ॥

Summary AI When she turned her face away from the weight of shyness, he, fearing a lack of affection, erased that fear from his mind by remembering her true intentions, which he had understood during his time as a messenger.

१८.३९

पार्श्वमागमि निजं सहालिभि-
स्तेन पूर्वमथ सा तयैकया ।
क्वापि तामपि नियुज्य मायिना
स्वात्ममात्रसचिवावशेषिता ॥

Summary AI First, she came to his side with her friends. Then, the cunning Nala, after sending away even the single friend who remained with her, caused her to be left with only herself as her companion.

१८.४०

संनिधावपि निजे निवेशिता-
मालिभिः कुसुमशस्त्रशास्त्रवित् ।
आनयद्व्यवधिमानिव प्रिया-
मङ्कपालिवलयेन संनिधिम् ॥

Summary AI Nala, an expert in the science of love, brought his beloved into close proximity with the embrace of his arms, as if there were still a distance, even though she had already been seated near him by her friends.

१८.४१

प्रागचुम्बदलिके ह्रियानतां
तां क्रमाद्दरनतां कपोलयोः ।
तेन विश्वसितमानसां झटि-
त्यानने स परिचुम्ब्य सिष्मिये ॥

Summary AI First, he kissed her on the forehead as she bent her head in shyness. Then, as she slightly turned, he kissed her on the cheeks. Having thus made her mind trustful, he quickly kissed her on the mouth and smiled.

१८.४२

लज्जया प्रथममेत्य हुंकृतः
साध्वसेन बलिनाथ तर्जितः ।
किंचिदुच्छ्वसित एव तद्धृदि
न्यग्बभूव पुनरर्भकः स्मरः ॥

Summary AI The child Kama (love), having first arrived in her heart, was rebuked by her shyness and then threatened by her strong fear. Just as he revived a little, he was once again subdued.

१८.४३

वल्लभस्य भुजयोः स्मरोत्सवे
दित्सतोः प्रसभमङ्कपालिकाम् ।
एककश्चिरमरोधि बालया
तल्पयन्त्रणनिरन्तरालया ॥

Summary AI In the festival of love, as her beloved's two arms desired to forcibly give an embrace, one of his arms was obstructed for a long time by the young woman, who was pressed tightly against the bed.

१८.४४

हारचारिमविलोकने मृषा-
कौतुकं किमपि नाटयन्नयम् ।
कण्ठमूलमदसीयमस्पृश-
त्पाणिनोपकुचधाविना धवः ॥

Summary AI Feigning some false curiosity in looking at the beauty of her necklace, the husband (Nala) touched the base of her neck with his hand, which then moved towards her breasts.

१८.४५

यत्त्वयास्मि सदसि स्रजाञ्चित-
स्तन्मयापि भवदर्हणार्हति ।
इत्युदीर्य निजहारमर्पय-
न्नस्पृशत्स तदुरोजकोरकौ ॥

Summary AI Saying, "Since you honored me with a garland in the assembly, you also deserve to be worshipped by me," he, while offering his own necklace, touched her two breast-buds.

१८.४६

नीविसीम्नि निहितं स निद्रया
सुभ्रुवो निशि निषिद्धसंविदः ।
कम्पितं शयमपास यन्नयं
दोलनैर्जनितबोधयाऽनया ॥

Summary AI At night, as he was removing his trembling hand, which he had placed on the knot of her garment while she was unconscious with sleep, she was awakened by the movements and (implicitly) stopped him.

१८.४७

स प्रियोरुयुगकञ्चुकांशुके
न्यस्य दृष्टिमथ सिष्मिये नृपः ।
आववार तदथाम्बराञ्चलैः
सा निरावृतिरिव त्रपावृता ॥

Summary AI Then the king, casting his gaze upon the garment covering his beloved's thighs, smiled. Covered with shame, she, as if she were completely uncovered, then covered that area with the hems of her clothes.

१८.४८

बुद्धिमान्व्यधित तां क्रमादयं
किंचिदित्थमपनीतसाध्वसाम् ।
किंच तन्मनसि चित्तजन्मना
ह्रीरनामि धनुषा समं मनाक् ॥

Summary AI In this way, the wise Nala gradually made her somewhat free from fear. Moreover, in her mind, Kama bent her shyness a little, along with his bow.

१८.४९

सिष्मिये हसति न स्म तेन सा
प्रीणितापि परिहासभाषणैः ।
स्वे हि दर्शयति ते परेण
कानर्ध्यदन्तकुरुविन्दमालिके ॥

Summary AI Though pleased by his jests, she only smiled and did not laugh. For what woman shows to another those two priceless rows of her teeth, like garlands of rubies?

१८.५०

वीक्ष्य भीमतनयास्तनद्वयं
मग्नहारमणिमुद्रयाङ्कितम् ।
सोढकान्तपरिरम्भगाढता
सान्वमायि सुमुखी सखीजनैः ॥

Summary AI Seeing the pair of breasts of Bhima's daughter marked with the impressions of the sunken gems of her necklace, her friends inferred that the beautiful-faced one had endured the tightness of her beloved's embrace.

Other texts to read

रामायणम् वाल्मीकिः

शिशुपालवधम् माघः

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