Celebrated author Usha Narayanan’s new book, Prem Purana, is a chronicle of love, longing, and the unexpected trials and tribulations one takes on in the journey of love. The book explores how even the mightiest of Gods and Goddesses have not remained untouched by love — with Ganesha taking on the challenge to please his wives, Ravana sharing an unbreakable bond with Mandodari, and Nala and Damayanti’s love withstanding the test of time.
Here are a few times the Gods surprised us with their deeds in love.
Myriad of stories
Fable of the mouse
The wonders of charming Gajamukha
Lord Ganesha’s vast appetite
Bad angel vs good angel
The game of Chaturanga
The story behind the fall
Hamsa, the cupid
Aren’t these facts fascinating?
Tag: Mythology
Excerpt from 'Bharat: The Man Who Built a Nation'
Dr Vineet Agarwal brilliantly retells the story of the son of Dushyant and Shakuntala, the grandson of Brahmarishi Vishwamitra in his latest book, Bharat: The Man Who Built a Nation.
Here’s an excerpt from the book.
Voices filled the royal hall of Hastinapur, bouncing off the two dozen marble pillars that supported the high vaulted ceiling. Wide latticed windows provided illumination as well as ventilation to the cavernous hall that was full of people watching the royal debate.
Aileen, ruler of the Puru kingdom, sat on a beautifully carved sandalwood throne that had been fashioned to resemble the vehicle of the moon god, the founding father of the Chandravansh. It was shaped like a chariot drawn by eight antelopes, and the king occupied the central seat, sheltered by a silver umbrella. The elderly king was presiding over a debate between his eldest son and the royal council. Of his five sons, Dushyant, the eldest, was quite simply the best.
Since the day he had first stepped into the court, the crown prince had shown a flair for solving the tricky situations that arose in the running of a kingdom. Dushyant was almost twenty-five now, and towered over his sire. Aileen saw a glimpse of his own younger self in him; they had the same tan complexion, sharp nose and dark eyes but the king had a greying beard and his face had assimilated fine lines from years of looking after the kingdom, while his son’s visage had the freshness of youth. Rigorous training had made Dushyant’s body lithe like that of a cheetah and his mind as sharp as a needle. He was practical and perceptive, and even now seemed to be winning the debate that had almost reached its conclusion.
For more than a prehar now, the councillors and the prince had been debating the need to change old policies followed by the kingdom—three hours and counting. Aileen had been trying to get his council to formulate new guidelines for more inclusive development, but to no avail. Change was not easy for anyone, let alone senior members of the court who were set in their ways and accustomed to their lavish lifestyles, but the king hoped that his son would be able to convince them.
Rising to his full six feet, Dushyant addressed the assembly emphatically, ‘The time has come for Hastinapur to introspect. We must decide which of our traditions are redundant and which can be retained. As the wielder of Shiva’s axe, Parshu Raam showed us, there is no place for practices that encourage corruption in this new world order.’
Aileen watched the seasoned councillors wince, a tiny smile playing on his lips. The use of Parshu-Raam’s name was a clever touch. Over the past year, the son of Rishi Yamdagni had gone on a rampage, annihilating autocratic rulers from the Himalayas to the southern ocean, paving the way for a new and just class of kings. Brahmins, Vaishyas and Shudras were the new Kshatriyas of Nabhi-varsh and what remained of the old guard was still haunted by the prospect of Parshu Raam’s return. Aileen himself had been lucky to escape with his life. His superior, Kartavirya Arjun, the emperor of the world, had not been so fortunate.
Dushyant’s closing argument had made even the most reluctant of councillors agree to the demand for modernization and as they passed a unanimous motion in favour of the idea, Aileen dismissed the court for the day and called his son to the throne.
‘My son,’ he said in a tone that betrayed his satisfaction, ‘seeing the way you have convinced the senior councillors to change their stance for the benefit of the people, I am confident that you are quite ready to look after the affairs of this kingdom. Acharya Dirghatamas, other senior members of the family and I concur that the time has come to pass on the crown of Puruvansh.’
What attracted Usha Narayanan to Mythological Stories?
Usha Narayanan, author of Prem Purana, has donned many hats, before becoming a successful full-time author. In her glorious career, she has dabbled with genres like thriller and romance, before turning to mythology. Her works Pradyumna: Son of Krishna and The Secret of God’s Son have been praised as ‘Indian mythology at its fiercest and finest’.
Her latest book, Prem Purana is about stories of love and extraordinary devotion found in Hindu mythology. On the launch of the book we asked her what about the mythological stories attracted her to write about them.
Here’s what she had to say.
The idea of writing mythological love stories was born during a conversation with my editor Vaishali Mathur at the Jaipur Literature Festival when she suggested that I should combine my strengths in writing mythology and romance. At that point, I was busy with The Secret of God’s Son and it was only after it was completed that I could think seriously think about this. I knew that our epics and Puranas focused more on the battle between good and evil, with heroic gods and fearsome demons confronting one another. Only a few love stories were widely known, such as the one of Kama shooting his arrow of love at ascetic Shiva, or of Arjuna winning Draupadi’s hand at her swayamvara.
I began my quest by re-reading all the ancient lore with an eye to discovering tales of the heart. As always, when writing mythological fiction, I wished to focus on untold stories, using my imagination to bring alive minor characters or lesser-known aspects of major ones. The first character who caught my eye was Ganesha. We think of him as the lovable elephant-headed god with a fondness for modakas. But who did he marry? People in the south of India swear that he is single, but others state vociferously that he is married. The images in temples show him either alone or with a wife or two. What are their names? Some say Siddhi and Riddhi, while others think their names are Siddhi and Buddhi. That was enough intrigue to stimulate my mind!
Another interesting layer to the story is the idea that Buddhi, Siddhi and Riddhi represent intellect, spiritual power and prosperity. As their names are merely mentioned in passing in most Puranas, I could give full rein to my imagination in portraying them. I endowed the three with distinct characteristics and showed Ganesha wooing them in different ways, according to their particular likes and dislikes. My Riddhi is sprightly, Buddhi is silent and deep, and Siddhi is fierce and opposed to the very idea of marriage! Their stories span three realms and four yugas, shedding light on many engaging aspects of Ganesha, the first among the gods. To add to the appeal, I discovered that in Bengal, during Durga Puja, Ganesha even has a banana bride!
I think readers will enjoy seeing Gajamukha in a refreshing new light in Ganesha’s Brides, the first of the three stories in Prem Purana.
“Siddhi watched as more and more arrows struck Ganesha, causing blood to flow like a flood. Was he ready to meet death rather than forsake his promise to her? Would he sacrifice everything for the sake of his love?”
**
For the second story, Mandodari, my inspiration came from the Ramayana. Ravana was Brahma’s great grandson on his father’s side and an asura prince on his mother’s. Choosing to follow the asura path, he pillaged heaven and earth, ravished women and abducted Rama’s wife Sita. What I found of interest was not his war with Rama, but his relationship with his wife Mandodari. How did she react to all this? Did she protest or did she submit silently to his actions? What was her background? Did the rakshasa love her? And the most exciting question of all―did Mandodari come face to face with Sita, the woman she regarded as the instrument of doom that would bring down Lanka?
I found no answers in the commonly available texts where Mandodari features in a mere two or three scenes. Fortunately, however, there are many Ramayana versions available. I followed the uncommon trails, used my imagination and fleshed out the queen’s character, placing her emotions at the centre of the narrative. The story also reveals startling new facets of Ravana’s character and motivations. I think Mandodari, with all its twists and turns, will be riveting and revelatory to readers.
“‘Snatching a woman by force or stealth is not an act of valour, Ravana. She is not an object of lust or a means to settle scores with your enemy,’ said Mandodari, her voice loud and clear. She would speak the truth regardless of consequences. It was a risk she had to take for Ravana and her people.”
**
After delving into the lives of a merry god and a dire rakshasa, it was time to move to the human plane, with the story of King Nala and Princess Damayanti. She turned down the gods who courted her at her swayamvara and chose Nala as her husband. Though she chose love over immortality, Nala was driven by his own demons and abandoned her in a dangerous forest. Damayanti struggled to survive the perils that confronted her at every turn, but forged forward regardless. She did not give up hope and devised various stratagems to reclaim her happiness.
I was fascinated by her strength and also by the magical swan that plays a key role as the messenger of love. I named the swan Gagana, meaning sky or heaven, and created a charming and audacious companion to Damayanti. The Kali demon, who plays a major role in my previous books, Pradyumna: Son of Krishna and The Secret of God’s Son, is the enemy that Nala and his queen must confront. How can a mortal pair combat the power of the demon who reigns over a dark yuga that signals the end of the world? Love, loss, hope and despair form the chequered background of this poetic tale.
“‘Majestic Ashoka, whose name signifies one who destroys grief . . . Free me from pain and unite me once more with my Nala!’ cried Damayanti, sinking to her knees under a soaring Ashoka tree. Alas, the tree made no answer and all she could hear was the wind rustling among the leaves.”
**
A major part of my excitement in writing these stories came from the opportunity to focus attention on the women in our epics who are often sidelined. We often find that a woman is regarded as a prize to be won, someone who is forced to watch quietly while her husband makes disastrous decisions. However, the heroines in Prem Purana are central to the action. They are strong, independent thinkers who inspire the males in their lives―god, asura or king―to do the right thing and live up to their responsibilities.
I hope readers enjoy reading these tales which provide a good mix of fervour and fury, heroism and heartbreak, set against a spectacular backdrop spanning heaven and earth.
‘The Story of Ravana, Ram or Sita?’: ‘The Girl Who Chose’ — An Excerpt
India’s favourite mythologist Devdutt Pattanaik’s ‘The Girl Who Chose’ brings a fresh perspective to what we have commonly known of the Ramayana — the story of Ram.
However, it has largely gone unnoticed that it was the choices that Sita had made which becomes the pivot for the Ramayana.
Here’s an excerpt from Devdutt Pattanaik’s book telling us why the story of Sita is at the heart of all that happens in the epic.
“Once upon a time, there was a man called Ravana, also known as Paulatsya—being the descendent of Rishi Pulatsya from his mother’s side. He was king of Lanka and ruler of the rakshasas, who tricked a princess called Sita, dragged her out of her house in the forest and made her prisoner in his palace. He was killed by Sita’s husband, Ram, the sun-prince. This story is called the Pulatsya Vadham, or the killing of the descendent of Pulatsya.
The story of Ravana’s killing is part of a longer tale called the Ramayana, which tells the story of Ram from his birth to his death. However, in the din of Ravana’s cruelty and Ram’s valour, something is often overlooked—the story of Sita, the girl who chose.
Valmiki, author of the Ramayana, written over 2000 years ago, tells us how Sita is different from Ram and Ravana. Ravana does not care for other people’s choices, while Ram never makes a choice as, being the eldest son of a royal family, he is always expected to follow the rules. But Sita—she makes five choices. And had Sita not made these choices, the story of Ram would have been very different indeed. That is why Valmiki sometimes refers to the Ramayana as the Sita Charitam, the story of Sita.
Do you know what were the choices that Sita had made? Grab a copy and find out now!
'A Very Long Epic': 'The Boys Who Fought' — An Excerpt
When an army of five fights against a battalion of a hundred, what happens? Devdutt Pattanaik’s ‘The Boys Who Fought’ looks at the Mahabharata not as an epic war for revenge, but one for the cause of dharma.
Here’s an excerpt from Pattanaik’s Mahabharata with a twist.
Once upon a time, there was a man called Vyasa. His father was a sage. His mother was a fisherwoman. He was born on a river island, and had a dark complexion.
Vyasa grew up watching animals fight. Then he saw humans fight. And he wondered, what was the difference?
In the forest, the mighty eat the meek. In human society, the mighty can take care of the meek. This is dharma, realized Vyasa. It creates a decent human society.
Inspired, Vyasa wrote an incredible story in 1,00,000 verses, split into eighteen chapters, about the fight between a hundred brothers and their five cousins.
Ganesha, who has the head of an elephant, wrote down Vyasa’s story, which became renowned as the Mahabharata, the great Indian epic, for Bharata is another name for India.
Others called it Bharata Kavya, the song of the Bharatas, for the hundred brothers and their five cousins belonged to the Bharata clan, also known as the Kuru clan, which once ruled over India.
Some people called the story Vijaya, the story of victory, for it describes how the Pandava five, with just seven armies, defeated the Kaurava hundred, with eleven armies, in an eighteen-day-long war.
Vyasa, however, insisted that his epic should be called Jaya, a victory in which no one was defeated. For, in the story, Krishna of the Yadu clan, cousin to both the Pandavas and the Kauravas, reveals a different kind of fight—a greater fight that takes place before weapons are raised on the battlefield, a fight of thoughts and emotions that arises inside our minds and hearts.
Can’t wait to read more? ‘The Boys Who Fought’ is coming soon!
Things You Didn’t Know About ‘Vyasa’ Illustrator Sankha Banerjee
The first in the series that retells the story of the epic Mahabharata, Vyasa sets the stage for the battle of Kurukshetra. This brilliantly illustrated graphic novel is authored by Sibaji Bandopadhyay.
Bringing this epic to life is artist Sankha Banerjee, who enthralls the readers with the many illustrations in the graphic novel.
Here’s taking a sneak peek into the interesting life of Sankha Banerjee.
We bet you’re as dazzled by his art work as we are!
5 Different Versions of Yama Raj in World Mythology
We are surrounded by diverse cultures, religions and beliefs. But going through the different mythologies in the world, we often find many similarities. Deities of one kind can be found in various forms among different cultures.
In Hindu Mythology, Yama Raj is regarded as the lord of the death. Similarly, in other cultures the deities of death take a different personification.
Here are 5 different versions of Yama Raj in different cultures.
Santa Muerte
Hades
Dis Pater
Anubis
King Yan
How many of these gods of death did you know of? Tell us.
5 Important Things that Make up a Puja Thali
When you look at a puja thali, it has many colours. There’s haldi, kumkum (sindoor), abeer which is black, but ‘abeer’ also means red. There’s a white powder and gulal (pink).
Colours are important. It’s almost as if we are playing Holi with the gods. The colours in a puja thali are to excite various sense organs (indriyaan). Fragrant things for smell (like, chandan), different colours for the eyes, a bell for sound, prasad for taste, a lamp and its glowing light (deep) for touch.
If you ever wondered the significance of all the things that go into a puja thali, here are the reasons – from India’s bestselling mythologist, Devdutt Pattanaik.
Haldi
In earlier times, women used to bathe with turmeric to give their skin a golden glow. In Puri temple, Krishna’s sister Subhadra has a yellow face and is called Haldi-mukhi (haldi-faced).
Kumkum
Red kumkum is associated with female gods and you’ll find it mostly in temples of the Devi.
Chandan
After you apply Chandan paste, you have to patiently wait for a while before its colour starts showing. Its fragrance is released immediately. This is a symbol of karma. Once you work, you will get the fruit of your labour.
Bhasm
Anything you burn is reduced to bhasm (ashes). You don’t have to work for it. Finally, you’ll be turned to ash. Shiva, who is a bairagi (an ascetic), smears it all over his body.
Rice
Haldi-kumkum-rice together probably conveys that to grow anything you need two things.
What are the other important things that go in your puja thali? What is their significance? We’d love to know!
6 Hindu Concepts Made Easy by India’s Bestselling Mythologist
Mythology is layered with legends within legends, full of perplexing and astonishing anecdotes, and buzzing with a cast of larger-than-life figures.
India’s bestselling mythologist – Devdutt Pattanaik simplifies the complex concepts of Hindu mythology.
Here are six Hindu concepts that Devdutt Pattanaik makes easy in his compilation – Devlok with Devdutt Pattanaik 2!
Have you ever wondered what Aatma or Soul really means
A lot of us would have seen the ritual of Aarti
Dhyan and Darshan be like Introspection and Extrospection
Amrit – the nectar of immortality!
Prakriti – the Nature, and Sanskriti – the Human World
Fasting has deep meanings through Hindu mythology
After the sensational response to Devlok with Devdutt Pattanaik part 1, prepare to be educated, entertained and moved as the author delves into the exhilarating variety of Hindu mythology in Devlok with Devdutt Pattanaik 2.
6 Sessions to Look Out for at JLF ’17
It’s that time of the year!
10 years since the first JLF, the Festival has grown into the world’s largest free event of its kind. Having hosted 1300 speakers and welcomed nearly 1.2 million book lovers, its success has been astonishing and heartwarming.
Some of the biggest Penguin authors have rocked the stage at JLF and this year promises to be even better. From commercial superstars to critical bigwigs, this year we are getting the crème de la crème from our author roster.
Here are a few of the sessions you’ll not want to miss at the Festival.
Gulzar
Gulzar and Pavan K. Varma in conversation
People usually run out of superlatives when talking about the evergreen Gulzar. One of the greatest artists to ever grace the JLF, Gulzar Sahib’s session, along with Pavan K. Varma, will be on his latest work – Suspected Poems. You’ll not want to miss his musings on poetry, literature and the state of the world.
Tabish Khair
Manju Kapur and Tabish Khair in conversation with Ashok Ferrey
Currently teaching English at Aarhus University in Denmark, Tabish Khair was born and educated in Bihar. At the session, the former journalist will be talking to Ashok Ferrey about the context and inspiration for his works. He will also talk about his book Jihadi Jane, a powerful novel about two Muslim girls who decide to join ISIS.
You can also catch him at the Festival along with Saeed Naqvi, Qaisra Shahraz, Sadia Dehlvi and Ornit Shani as they talk of the conflicts and polarities of being an Indian Muslim in an increasingly divided world.
Ashok Ferrey
Ashok Ferrey, Kyoko Yoshida and Marina Perezagua in conversation with Sunil Sethi
Ashok Ferrey will be in conversation with Sunil Sethi on the pursuit of fiction that involves a leap of faith between material and literary reality. He will be joined by other notable contemporary writers as they also discuss how writers enter and access fictional journey. The bestselling Sri Lankan author will also explore the devil within as he discusses his latest book The Ceaseless Chatter of Demons.
From talking about the thin red line between a person’s beliefs and politics with Tabish Khair to joining Ashwin Sanghi on his talk about the art of writing thrillers, Ashok Ferrey will also be at various other sessions with other authors.
Ravinder Singh
Ira Trivedi and Ravinder Singh in conversation with Lucy Beresford
Romantic fiction reaches out across time and history to every successive generation with tales of love. The King of Romance, Ravinder Singh’s session is about love in contemporary India. The author who is known for writing from the heart, about the heart will speak about the psychology and the changing mores of love in our times.
Devdutt Pattanaik
Devdutt Pattanaik introduced by Amrita Tripathi
Ancient Greece and India have both bequeathed a lasting body of myth to the world. In his latest work Olympus, Devdutt Pattanaik attempts to understand how an Indian reader raised on a steady diet of local myths and legends might respond to classical Greek mythology. By reversing the gaze, he explores the fascinating connections between these stories and sagas. At the Festival, Pattanaik will talk about both the mythologies and their lasting legacy.
Devdutt Pattanaik will have two more sessions at JLF – on the history and legacy of the Vedas and on his book The Girl Who Chose.
Arshia Sattar
Arshia Sattar and Volga in conversation with Vayu Naidu
A symbol of chastity and loyalty, the goddess Sita has evolved into a feminist icon for her silent strength and endurance. In her session, Arshia Sattar will talk about her highly acclaimed translation of the ‘Uttara Kanda’. She will talk about the sacrifice, choice and the complex moral universe of the Ramayana.
Arshia Sattar will also be in various other sessions at the Festival discussing atheism in the ancient world to understanding the brilliant A.K. Ramanujan.
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The themes of equity and democracy run through the Festival’s veins bringing humanitarians, historians, politicians, business leaders, sports people and entertainers together on stage. Access to these renowned thinkers along with some of the finest writers in the world provides a potentially life-changing opportunity to visitors.
We hope to see you at Jaipur!
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