Deviations from the Source Śrimad Bhāgavata

It is already stated that the theme of the Vāsudevavijaya is the story of Kṛṣṇa dealt with in the tenth skandha of Śrimad Bhāgavata. Though Vāsudeva shows immense interest to Bhāgavata, he has introduced some modifications in the story of the source work.

Some of the deviations by Vāsudevais as follows:

1. In Bhāgavata, the goddess of Earth appears before Lord Brahmā in the form of a cow^[1]. But in Vāsudevavijaya, she approaches Brahmā to represent her grievances, but not in the form of a cow^[2].

2. In Bhāgavata, Vasudeva, the father of Kṛṣṇa, is described as adorned with divine and extra ordinary lustre when Viṣṇu entered in his mind^[3]. This description is omitted in Vāsudevavijaya

3. In Bhāgavata, it is described that while Devakī and Vasudeva were in prison the gods appeared before them and praised Kṛṣṇa who was in devakī’s womb. After that they consoled and congratulated Devakī for having been fortunate enough to carry the Lord Nārāyaṇa in her womb^[4]. These descriptions of Bhāgavata are absent in Vāsudevavijaya

4. In Bhāgavata, it is stated that Kaṃsa decided to kill the children aged less than one year^[5]. But in Vāsudevavijaya, all the babies on the earth decided to be killed^[6].

5. In Bhāgavata, Kṛṣṇa yawns after taking his mother’s milk and while yawning Yaśodā beholds the universe in his mouth. Yaśodā became awe-struck and the poet elaborates the descriptions by listing the different objects in his mouth^[7]. This incident is not seen in Vāsudevavijaya

6. Bhāgavata elaborately narrates the story of Nalakūbara and Maṇigrīva, i.e. their teasing Nārada, Nārada’s curse, their transformation into Arjuna trees and their emancipation etc.^[8] While in Vāsudevavijaya this incident is only abridged.^[9]

7. In Bhāgavata, it is said that Kaṃsa sent a demon named Vatsa in the form of a calf to kill Kṛṣṇa^[10]. But Vāsudevavijaya mentions the name of the demon as Vatsaka.^[11]

8. In Bhāgavata, it is mentioned that Kṛṣṇa, at the age of five killed Aghāsura, the brother of Pūtanā and Bakāsura^[12]. But in Vāsudevavijaya the age is not mentioned and Aghāsura is not described as the brother of Pūtanā and Bakāsura.^[13]

9. Bhāgavata stated that Brahmā was filled with wonder on seeing Aghāsura being killed by Kṛṣṇa. He then appeared before Kṛṣṇa and sang in praise of his omnipotence^[14]. In Vāsudevavijaya praising of Brahmā is not seen.

10. In Bhāgavata, Kṛṣṇa lifted the Govarddhana Mountain at the age of seven. After this incident Gopas gathered around him and extolled the activities done by Kṛṣṇa from the birth onwards.^[15] In Vāsudevavijaya, the indication of his age and also the praising of the Gopas are omitted.

11. In Bhāgavata, a detailed description of Nanda’s observation of Ekādaśī vrata, his abduction by the servants of Varuṇa, Kṛṣṇa’s visit to varuṇaloka, varuṇa’s worship and the rescue of Nanda by Kṛṣṇa etc. can be found. After this,Nandagopa narrates it to the Gopas.^[16] In Vāsudevavijaya, the abduction of Nanda is referred to,^[17] but detailed description and also the narration of Nandagopa to the Gopas is not seen.

12. In Bhāgavata, Sudarśanaśāpamokṣa and killing of Śaṅkhacūḍa are described in detail.^[18] But Vāsudevavijaya excluded these episodes.

The above mentioned modifications may be due to the fact that there are so many versions to the story of Kṛṣṇa. The story prevalent in Kerala at the period of Vāsudeva might be varied from that of the source. On the other hand the author may introduce some innovations to the story according to his imagination. It can be seen that the poets like Kālidāsa etc. compose their poems by establishing novel ideas in the theme taken from a renowned story.^[19] There are so many episodes which excluded or abridged in Vāsudevavijaya from that of the source. It is not possible to include all incidents in detail in a poem comes under the category of Śāstrakāvya. The prime intention of the author is the illustration of grammatical rules. Thus there are some limitations to the poet to incorporate all the incidents in the source. Thus the depictions in abridged form are also because of the same reason.

Footnotes and references:

[1]:

BhāgavataPurāṇa, X.1.18.

[2]:

Prof. Vijayapal Sastri,op.cit.v.II.3

[3]:

BhāgavataPurāṇa, X.2.17.

[4]:

Ibid,X.2.25-41.

[5]:

Ibid,.X.4.31

[6]:

Prof. Vijayapal Sastri,op.cit.v.III.54

[7]:

BhāgavataPurāṇa, X.7.35-37

[8]:

ibid, v.X.10.1-43.

[9]:

Prof. Vijayapal Sastri,op.cit.v.V.22-25

[10]:

Bhāgavatapurāṇa, v.X.XI.42-44

[11]:

Prof. Vijayapal Sastri,op.cit.v.V.40-41

[12]:

Bhāgavatapurāṇa, v.X.XII.14

[13]:

Prof. Vijayapal Sastri,op.cit.v.VI.45-53

[14]:

BhāgavataPurāṇa, X.7.35-37.

[15]:

ibid.X.26.14.

[16]:

Ibid,X.28.1-18.

[17]:

Prof. Vijayapal Sastri,op.cit.v.VII.33-34

[18]:

Bhāgavata Purāṇa, X.34.12-17.

[19]:

Kālidāsa extracts the theme from Mahābhārata and composes his Abhijñānaśākuntala. He makes many innovations according to his imagination. For example the episode of Durvāsā’s curse is not seen in the source. It is the invention of the poet.