Draupadi and krishna relationship poems

draupadi and krishna relationship poems

Draupadi laments before Krishna–Arjuna about her plight, Vyasa narrates . Could Vyasa represent that Connection through Words and language only, that is . Draupadi n Lord Krishna were Bhakt n Bhagwaan. There was a spiritual love Marriage with draupadi was lucky for them. Dhritarastra. The love between a `sakha' and a `sakhi', as Draupadi and Lord Krishna used to address each other, has no parallel in any other human This is symbolized in the relationship between Krishna and Draupadi. .. Quotes Collection Oldest.

In a verbal language dependant Centric World, this might seem strange, but this is not my claim. Our own firsthand experience confirms the importance of Nonverbal Communication, and Empirical researches have found that Nonverbal communication represents two-thirds of all communication. The whole of industry in our times including Media, advertisement, and Culture like politics thrives on Body Language and Visual-Centricity of Human.

It has its grave and comical sides. Again, courtesy media, we often get to see the ludicrous side too. When a leader or public servant goes to jail scams, of courseor a minister sinister? Well, if Body Language is so important, why would not Vyasa say anything about it?

draupadi and krishna relationship poems

I am no more shocked or surprised at such findings because I have long settled it that Vyasa actually wrote Mahabharata with Draupadi as the Centre. Since Body Language operates in Silence, to understand the significance and importance of Body Language in Mahabharata, we should henceforth modify our approach to Mahabharata. Marx too had to grow saint-like beard for Body-Presence - Hitherto men have been reading Mahabharata through words, let us now learn to take account of Silence too, that is, while concentrating on words and trying to understand their meaning - in any case Only Words are futile, because three-fourth of language — Vak — is already hidden according to RgVeda, Shatapatha Brahmana, and Dharmashastras — also pointing to the importance of Silence — let us have a simultaneous awareness of the Silence — that is, the pause between the words, if any, the Silence of the audience to the speaker and trying to imagine their action at that timeand Silence of Vyasa regarding this thing or that thing.

With this approach, I find that in Mahabharata, Woman speaks not only through verbal language, but also through Silence in at least two ways: As I said, this happens mostly about Draupadi.

And the princess of Pancala also looked at them all. And casting their glances on the illustrious Krishna, those princes looked at one another. And taking their seats, they began to think of Draupadi alone. Indeed, after those princes of immeasurable energy had looked at Draupadi, the God of Desire invaded their hearts and continued to crush all their senses. Yudhishthira himself being adept in understanding Body Language elsewhere too we find him as 'understander of Signs' and 'Bhava' understands the unity of Bhava among them, and immediately declares that all of them would marry Draupadi.

What does Draupadi do? She questions the elders of the court and all present — Words now — gives a Speech arguing and pointing out the fallacy of Duryodhana's considering her 'won' — Words now — and the effect? Absolute Silence in Kuru Sabha… and we try to imagine what those gigantic males are doing at that time — what their Body-Presence might be expressing what Body Language!

Now the interesting thing.

Relationship Between Krishna and Draupadi | Lonely Philosopher

Draupadi uses her Speech to Silence others, then with her Speech again she blames their Silence, and herself uses Silence as Power to inflame her husbands.

Else, why do these foremost of the Kuru elders look silently on this great crime? And here is how she transforms her pause into a Silence pregnant with powerful Body Language: And casting a glance upon her enraged lords--the Pandavas--who were filled with terrible wrath, she inflamed them further with that glance of hers.

What Power is in that Glance? What Power in her tearful eyes! We know what happens next. Now let us read, how Vyasa describes Draupadi's leaving Hastinapura with her husbands. There is more in Draupadi's Body-Presence than meets the Eye. Interestingly, this Speech is often attributed to Draupadi that is, Draupadi promises to widow the Kuru womenbut here we find she actually makes no such verbal promise of widowing the Kuru women.

Draupadi's Body-Presence is like poetry! Can it be possible that even a single son of mine will live? The wives of the Bharatas, uniting with Gandhari upon beholding virtuous Krishna, the wedded wife of the Pandavas, endued with beauty and youth, dragged into the court, set up frightful wail. Even now, along with all my subjects, they weep every day. Enraged at the ill treatment of Draupadi, the Brahmanas in a body did not perform that evening their Agnihotra ceremony.

The winds blew mightily as they did at the time of the universal dissolution. There was a terrible thunder-storm also. Meteors fell from the sky, and Rahu by swallowing the Sun unseasonably alarmed the people terribly.

Our war-chariots were suddenly ablaze, and all their flagstaffs fell down foreboding evil unto the Bharatas. Jackals began to cry frightfully from within the sacred fire-chamber of Duryodhana, and asses from all directions began to bray in response. Draupadi's Glance can penetrate the dumb sheath of Dhritarashtra's blind eyes to flash in his Inner Eyes.

Another significant thing here is: Draupadi's Glance is not only Poetry, but also 'Politics. In sulky anger and sorrow she "hid her face with her soft hands like the buds of lotus, and began to weep" and then complains to Krishna - "Husbands, or sons, or friends, or brothers, or father, have I none!

Nor have I thee, O thou slayer of Madhu, for ye all, beholding me treated so cruelly by inferior foes, sit still unmoved! My grief at Karna's ridicule is incapable of being assuaged! On these grounds I deserve to be ever protected by thee, O Kesava, viz.

Is it another description of Draupadi's Body Language? Is it so simple? Is Vyasa communicating Draupadi's suffering or her Beauty? Her tear seems to be the excuse of the description of her breasts. Which Vyasa finds beauty of Shrngara in an otherwise Karuna evoking scene? Is he Kavi-Vyasa or Rshi Vyasa?

If he is Kavi-Vyasa, then Rshi-Vyasa too is present revealing the inappropriateness of the Kavi fixing gaze on Draupadi's tear, palms, and breasts in such a tragic scene. The creator becomes subservient to the Power of the created. The next moment such ponderings and our complacent aesthetics receive a dramatic jolt, when Krishna makes a violent promise to wipe out the kauravas - nihatan jiivitam tyaktva shayanan vasudhatale - and make their wives widows- rodishyanti striyo hy evam yesham kruddhasi bhamini 3.

Weep not, lady, for I will exert to the utmost of my powers for the sons of Pandu! I promise thou shalt once more be the queen of kings! The heavens might fall, or the Himavat might split, the earth might be rent, or the waters of the ocean might dry up, but my words shall never be futile! Trained in economy, she took upon the responsibility of looking after the treasury of the Empire, and also ran a citizen liaison.

Draupadi - Short Stories from Mahabharat - Animated Stories for Children

Her duties as a busy Empress are mentioned in her famous conversation with Satyabhama, Krishna's favourite wife, during their exile. Duryodhana and his entourage were exploring the keep during their visit to Yudhishthira's Rajasuya Yagna. While touring the grounds, an unsuspecting Duryodhana fell prey to one of the many illusions that could be seen all around the palace.

When he stepped on the apparently solid part of the courtyard, there was a splash and Duryodhana found himself waist deep in water, drenched from head to foot by the hidden pool. Draupadi and her maids saw this from the balcony and were amused. Duryodhana felt extremely insulted that Draupadi and her maids saw his embarrassing predicament. Draupadi joked Andhasya Putra Andhaha meaning 'a blind man's son is blind'.

This famous story does not feature in Veda Vyasa's Mahabharatha. The story of 'blind man's son is blind' was the figment of imagination of much later playwright. It gained immense popularity gradually, and was repeatedly depicted in various adaptations of the epic across the length and breadth of the country. The most popular depiction was by B. Chopra in his masterpiece Mahabharata series that aired on Doordarshan in We find several references to blindness of the characters by eminent playwright Dharmveer Bharti, in his famous play 'Andha Yuga'.

The play was published inin Hindi weekly magazine, Dharma Yuga. In Vyasa's Sanskrit epic, the scene is quite different. In the Sanskrit epic, Draupadi is not mentioned in the scene at all, either laughing or insulting Duryodhana. Nonetheless, Duryodhana felt insulted by the behavior of the four Pandavas, stoking his hatred of them.

Later on, he went back to Hastinapur, and expressed his immense agony on witnessing the riches of the Pandavas to his blind father, which was the root cause for inviting his cousins for the dice-game. His main wish was to usurp the wealth of his cousins which they had accumulated on account of the Rajasuya Yajna. Known to few, during this conversation, Duryodhan mentions how he had observed Draupadi serving food to everyone, including physically challenged citizens as the Empress.

He says to his father,"And, O king, Yajnaseni, without having eaten herself, daily seeth whether everybody, including even the deformed and the dwarfs, hath eaten or not. It is here, where he fleetingly mentioned Draupadi's name, who accordingly to Duryodhan, had "joined in the laughter with other females. This laughter of Draupadi's was later on singled out and romanticized by various poets and bards for years as a symbolic cause for the dice-game, and eventually the war.

In Vyasa's Sanskrit epic, Draupadi's role in insulting Duryodhana is trivial compared to the exaggerated treatment it has received in popular adaptations.

Draupadi Asks

This key incident is often considered to mark a definitive moment in the story of Mahabharata. It is one of the driving reasons that ultimately led to the Kurukshetra war. Together with his maternal uncle ShakuniDuryodhana conspired to call on the Pandavas to Hastinapur and win their kingdoms in a game of gambling.

There is a famous folklore that the plan's architect, Shakuni had magic dice that would never disobey his will, as they were made from the bones of Shakuni's father.

This story however is non-existent in the Sanskrit epic. As the game proceeds, Yudhishthira loses everything at first. In the second round, Yudhishthira's brother Nakula is stake, and Yudhishthira loses him. Yudhisthira subsequently gambles away Sahdev, Arjuna and Bheem. Finally, Yudhishthira puts himself at stake, and loses again. For Duryodhana, the humiliation of the Pandavas was not complete.

He prods Yudhishthira that he has not lost everything yet; Yudhishthira still has Draupadi with him and if he wishes he can win everything back by putting Draupadi at stake.

Inebriated by the game, Yudhishthira, to the horror of everybody present, puts Draupadi up as a bet for the next round. Playing the next round, Shakuni wins. Draupadi was horrified after hearing that she was staked in the game and now is a slave for Duryodhana.

Draupadi questions Yudhishthira's right on her as he had lost himself first and she was still the queen. Duryodhana, angry with Draupadi's questions, commands his younger brother Dushasana to bring her into the court, forcefully if he must. Dushasana drags Draupadi to the court by the hair. Seeing this, Bheem pledges to remove Dushasana's hands, as they touched Draupadi's hair. Now in an emotional appeal to the elders present in the forum, Draupadi repeatedly questions the legality of the right of Yudhishthira to place her at stake.

In order to provoke the Pandavas further, Duryodhana bares and pats his thigh looking into Draupadi's eyes, implying that she should sit on his thigh. In rage Bhima vows in front of the entire assembly that he would break that thigh of Duryodhana, or accept being Duryodhana's slave for seven lifetimes.

At this time Vikarnaa brother of Duryodhana asks the kings assembled in the court to answer the question of Draupadi.

He gives his opinion that Draupadi is not won rightfully as Yudhishthira lost himself first before staking her. Besides, no one has right to put a woman on bet according to shastras; not a husband, father, or even the gods. Hearing these words, Karna gets angry and says that when Yudhishthira lost all his possession he also lost Draupadi, even specifically staking her. He orders Dushasana to take away the rich garments of Pandavas and Draupadi.

A miracle occurs henceforward, which is popularly attributed to Krishna. Dushasana unwraps layers and layers of her sari. As her sari keeps getting extended, everyone looks upon in awe, and Dushasana himself is forced to stop due to exhaustion. This vow unsettles the entire court. The only Kauravas who object to the disrobing of Draupadi in the court are Vikarna and Vidura. Vidura openly calls Duryodhana a snake and a demon, but after finding no support even from his own brother, Vidura is helpless.

Karna further orders Dushasana to take Draupadi to the servants' quarters and derisively asks her to choose another husband who unlike Yudhistira would not gamble her away. Just then, jackals call out as a mark of evil omen. Queen mother Gandhari enters the scene and counsels Dhritarashtra to undo her sons' misdeeds.

Fearing the ill-omens, Dhritarashtra intervenes and grants Draupadi a boon. Draupadi asks that her husband Yudisthir be freed from bondage so her son Prativindhya would not be called a slave. In order to pacify her further, Dhritarashtra offers a second boon.

Calmly, she asks for the freedom of the Pandavas along with their weapons. When Dhritarashtra asks her for her third wish, she reminds him that a kshatriya woman can seek only two wishes, three would be a sign of greed. Dhristarashtra gives them back their wealth, and grants them permission to go home. Amused by the sudden turn of events, Karna remarks that they "have never heard of such an act, performed by any of the women noted in this world for their beauty. Yudhishtira yet again accepts the invitation and loses, and goes on an exile with his brothers and wife Draupadi.

Mahabharata: Draupadi, Body Language, Eyes, and Vyasa’s Poetry by Indrajit Bandyopadhyay

Living in exile[ edit ] Abduction by Jayadratha[ edit ] Draupadi taken to forest by Simhika, who plans to kill her While the Pandavas were in the Kamyaka forest, they often went hunting, leaving Draupadi alone. At this time Jayadrathathe son of Vriddhakshatra and the husband of Duryodhana's sister Dussalapassed through Kamyaka forest on the way to Salwa Desa. Jayadratha met Draupadi and then started beseeching her to go away with him and desert her husbands. Draupadi pointed out the immorality of deserting one's spouses when they were in difficulty, and attempted to stall and dissuade Jayadradtha by describing how the Pandavas would punish him.

Relationship Between Krishna and Draupadi

Failing with words, Jayadratha forced her onto his chariot. Meanwhile, the Pandavas finished their hunt and found Draupadi missing. Learning of their wife's abduction by Jayadratha they rushed to save her. On seeing the Pandavas coming after him, Jayadratha left Draupadi on the road, though ultimately the Pandavas managed to arrest him.

draupadi and krishna relationship poems

Yudhishthira urged Bhima to spare Jayadratha's life for the sake of Dussala and Gandharimuch to the indignation of Draupadi. In some versions of the story, Yudhishthira asks Draupadi to pass the sentence since it was she who was attacked, and she begrudgingly counsels to spare him because of the relations they share.

Before freeing him, the Pandavas shaved Jayadratha's head at five places in order to publicly humiliate him. One day Kichakaand the commander of king Virata 's forces, happened to see Draupadi.