vairagya.

First comes the story of Suka in the first Prakarana. Suka was not satisfied with all the explanations his father, Vyasa gave of Maya and hence resorted to Janaka for aid who by Aparoksha or direct realisation within himself, showed the end.

the second Prakarana called Mumukshu. Of the four fold qualifications necessary to a disciple on the path, vis., the discrimination of Atman and non-Atman, etc., Rama having developed the first three is asked by Vasistha to concentrate his mind upon the attainment of Moksha. For this purpose, Vasistha expatiates in Mumukshu Prakarana upon the preliminary qualifications necessary for the attainment of Moksha or salvation. Here the author says that the four sentinels posted at the gate of Moksha are Santi (quiescence of mind or sweet patience), Vichara (the enquiry after Atman), Santosha (contentment of mind) and Sadhu-Sanga (association with the wise) and will have to be befriended by one wishing to attain Moksha. Should one of them at least be befriended, he will introduce the aspirant to his companion sentinels. Then the author goes on to explain that Moksha does not mean the physical separation from all worldly affairs but only a state of the mind bereft of all impure Vasanas or clinging towards, but yet working as usual amidst, worldly things. The difference between Vasanas, pure and impure is well defined in this chapter.
 Having thus given out the nature of the goal towards which all egos are gravitating, Vasistha, in order to relieve Rama from the mental despair and anguish in which he was placed, then traces the origin of „I‟, its growth and its quiescence and then that state from which the above three states can be viewed as one. For this purpose, he gives out its relationship with the one Reality and the universe.
This is precisely the position in which Arjuna was placed when he was instructed by Sri Krishna as in the Bhagavad Gita and when also he was told the relationship existing between the Universal Spirit, the ego and the cosmos; the difference being that the detailed instructions in this work are not given in a veritable battle field but in that of the mind and are illustrated by a series of stories wherein the different stages of the mind are worked out to suit a disciple on the path. Now taking his stand on the Pantheistic conception of Brahman being the one Reality and the universe and Jiva as his aspect or manifestation, Vasistha begins the Utpatti Prakarana with the statement that the Jiva or ego in  man and the universe in their innate condition are Brahman only and this phenomenal universe is but an outcome of the Divine Will seeming to be real through the workings of the mind. In the technical phraseology of this work, the ideation reflected in the Lila-Sankalpa of Brahman is the origin of the world; its manifestation, the preservation of the world; and its disappearance, the destruction of the world. These are the three aspects that are dilated upon in the second, third and fourth Prakaranas. In other words, the old Hindu philosophers held that the universe is nothing but states or modes of consciousness reflected through the Sankalpa or will of Para Brahman which is said through its Law to evolve the universe out itself for its Lila or sport. The word Sankalpa is rather a difficult word to translate. Originally it is the Divine Will in manifestation and in man in his present stage becomes the will-thought pertaining to his Antahkarana or the lower mind. It is through the Sankalpa of our Manas that the universe appears to be and it is this Sankalpa that is asked to be given up by one who wishes to soar to the one Reality beyond this universe. The author of this work LAGHU YOGA VASISTHA  defines, in one chapter, Sankalpa to mean the ideation of Aham or „I‟; which arises in the relationship of subject to object when conditioning is brought about.

yoga vasistha

Yoga Vasistha (Sanskrit: योग-वासिष्ठ, IAST: Yoga-Vāsiṣṭha) is a philosophical text attributed to Valmiki, although the real author is unknown. The complete text contains over 29,000 verses. The short version of the text is called Laghu Yogavasistha and contains 6,000 verses. The text is structured as a discourse of sage Vasistha to Prince Rama. The text consists of six books. The first book presents Rama's frustration with the nature of life, human suffering and disdain for the world. The second describes, through the character of Rama, the desire for liberation and the nature of those who seek such liberation. The third and fourth books assert that liberation comes through a spiritual life, one that requires self-effort, and present cosmology and metaphysical theories of existence embedded in stories. These two books are known for emphasizing free will and human creative power. The fifth book discusses meditation and its powers in liberating the individual, while the last book describes the state of an enlightened and blissful Rama.

Yoga Vasistha teachings are structured as stories and fables, with a philosophical foundation similar to those found in Advaita Vedanta, is particularly associated with drsti-srsti subschool of Advaita which holds that the "whole world of things is the object of mind".The text is notable for expounding the principles of Maya and Brahman, as well as the principles of non-duality, and its discussion of Yoga. The short form of the text was translated into Persian by the 15th-century.

Yoga Vasistha is famous as one of the historically popular and influential texts of Hinduism. Other names of this text are Maha-Ramayana, Arsha Ramayana, Vasiṣṭha Ramayana, Yogavasistha-Ramayana and Jnanavasistha.

The Yoga-vasistha is throughout a philosophical work, in the form of popular lectures, and the same idea is often repeated again and again in various kinds of expressions and poetical imagery. But the writer seems to have been endowed with extraordinary poetical gifts. Almost every verse is full of finest poetical imagery; the choice of words is exceedingly pleasing to the ear.

The Yoga Vasistha is a syncretic work, containing elements of Vedanta, Yoga, Samkhya, Saiva Siddhanta, Jainism and Mahayana Buddhism, thus making it, according to Chapple, "a Hindu text par excellence, including, as does Hinduism, a mosaic-style amalgam of diverse and sometimes opposing traditions"

Habbit.

The Phenomena of habit in living beings are due to the plasticity of the organic material of which their bodies are composed. For example a lock works better after being used a few times.  Thus we know more force is required to overcome certain roughness in the mechanism. This over coming of the resistance is the phenomenon of habituation. so also it is easier to fold a paper previously folded. this saving of trouble is due to the essential nature of habit.
It is universally understood rather experienced that every kind of training for special aptitude is both far more efficient and leaves a more permanent impress when extended on a growing organism than when brought to bear on the adult.
Our nervous system grows to the modes in which it has been exercised. thus a habit simplifies the movements required to achieve a given result, makes them more accurate and diminishes fatigue. Habit diminishes the conscious attention with which our acts are performed.
Man is born with a tendency to do more things than he has ready made arrangements for in his nervous centers.

 If habits are due to the plasticity of materials to outward agents, we can immediately see to what outward influences, if to any, the brain-matter is plastic. Not to mechanical pressures, not to thermal changes, not to any of the forces to which all the other organs of our body are exposed; for nature has carefully shut up our brain and spinal cord in bony boxes where no influences of this sort can get at them. She has floated them in fluid so that only the severest shocks can give them a concussion, and blanketed and wrapped them about in an altogether exceptional way. The only impressions that can be made upon them are through the blood, on the one hand, and through the sensory nerve-roots, on the other; and it is to the infinitely attenuated currents that pour in through these latter channels that the hemispherical cortex shows itself to be so peculiarly susceptible. The currents, once in, must find a way out. In getting out they leave their traces in the paths which they take. The only thing they can do, in short, is to deepen old paths or to make new ones; and the whole plasticity of the brain sums itself up in two words when we call it an organ in which currents pouring in from the sense-organs make with extreme facility paths which do not easily disappear. For, of course, a simple habit, like every other nervous event - the habit of snuffling, for example, or of putting one's hands into one's pockets, or of biting one's nails - is, mechanically, nothing but a reflex discharge; and its anatomical substratum must be a path in the system. The most complex habits, are nothing but concatenated discharges in the nerve-centres, due to the presence there of systems of reflex paths, so organized as to wake each other up successively - the impression produced by one muscular contraction serving as a stimulus to provoke the next, until a final impression inhibits the process and closes the chain. The only difficult mechanical problem is to explain the formulation  of a simple reflex or path in a pre-existing nervous system. Here, as in so many other cases, it is only the premier pass For the entire nervous system is nothing but a system of paths between a sensory terminus a quo and a muscular, glandular, or other terminus ad quem. A path once traversed by a nerve-current might be expected to follow the law of most of the paths we know, and to be scooped out and made more permeable than before; and this ought to be repeated with each new passage of the current. Whatever obstructions may have kept it at first from being a path should then, little by little, and more and more, be swept out of the way, until at last it might become a natural drainage-channel. This is what happens where either solids or liquids pass over a path; there seems no reason why is should not happen where the thing that passes is a mere wave of rearrangement in matter that does not displace itself, but merely changes chemically or turns itself round in place, or vibrates across the line. The most plausible views of the nerve-current make it out to be the passage of some such wave of rearrangement as this. If only a part of the matter of the path were to 'rearrange' itself, the neighboring parts remaining inert, it is easy to see how their inertness might oppose a friction which it would take many waves of rearrangement to break down and overcome.

songs.various composers.

Lyrics of 'chinnajiru kiliye kannama':
Courtesy : www.karnatik.com


raagam: raagamaalika
taaLam: roopakam
Composer: Subrahmanya Bhaaratiyaar
Language: Tamil

1 raagam: kaapi

22 kharaharapriya janya
Aa: S R2 M1 P N3 S
Av: S N2 D2 N2 P M1 G2 R2 S

chinnam shirukkiLiyE kaNNammA shelvak-kaLanjiyamE
ennaik-kali tIrttE ulagil Etram puriya vandAi

2

piLLaik-kaniyamudE kaNNammA pEshum por-chittiramE
aLLi aNaittiDavE en munnE Adi varum tEnE

3 raagam: maanD

29 shankaraabharaNam janya
Aa: S G3 M1 P D2 S
Av: S N3 D2 P M1 G3 R2 S

Odi varugaiyilE kaNNammA uLLam kuLirudaDi
Adit-tiridal kaNDAl unnaip-pOi Avi tazhuvudaDIaaDi tiridal kaNDaal unnai poi aavi tazhuvudaDi

4 raagam: vasantaa

17 sooryakaantam janya
Aa: S M1 G3 M1 D2 N3 S
Av: S N3 D2 M1 G3 R1 S

ucci tanai mughandAl garuvam Ongi vaLarudaDi
mecci unnai yAr pugazhndAl mEni shilirkkudaDI

5 raagam: tilang

28 harikaambhOji, 30 naaganandini janya
Aa: S G3 M1 P N3 S
Av: S N2 P M1 G3 S

kannattil muttamiTTAn uLLam tAn kaL veri koLLudaDi
unnait-tazhuviDivO kaNnammA un mattamArudaDI

6 raagam: hindOLam

20 naTabhairavi janya
Aa: S G2 M1 D1 N2 S
Av: S N2 D1 M1 G2 S

shaTru mukham shivandAl manadu sancalamAgudaDi
neTri shurungak-kaNDAl enakku nenjam padaikkudaDI

7 raagam: neelamaNi

27 sarasaangi janya
Aa: S R2 M1 P D1 N3 S
Av: S N3 D1 P M1 R2 S

un kaNNil nIr vazhindAl ennenjil udiram koTTudaDi
en kaNNin pAvaiyenrO kaNNammA ennuyir ninradanrO

8 raagam: neelaambari

29 dheera shankaraabharaNam janya
Aa: S R2 G3 M1 P D2 P N3 S
Av: S N3 P M1 G3 R2 G3 S

shollum mazhalaiyilE kaNNammA tunbangaL tIrttiDuvAi
mullai shirippAlE enadu mUrkham tavirttiDuvAi

9 raagam: valaci

16 cakravaakam janya
Aa: S G3 P D2 N2 S
Av: S N2 D2 P G3 S

inbak-kadaigaLellAm unnaip-pOl EdugaL sholvaduNDO
anbu taruvadilE unainEr AghumOr deivamuNDO

10 raagam: madyamaavati

22 kharaharapriya janya
Aa: S R2 M1 P N2 S
Av: S N2 P M1 R2 S

mArbilaNivadarkkE unnaippOl vaira maNigaLuNDO
shIr peTru vAzhvadarkkE unnaippOl shelvam peridumuNDO

(chinnanjiru)


oLi padaitha kanninaai vaa vaa vaa
uRudhi konda nenjinaai vaa vaa vaa
kaLi padaitha mozhiyinaai vaa vaa vaa
kadumai konda tholinaai vaa vaa vaa
thelivu petra madhiyinaai vaa vaa vaa
sirumai kandu ponguvaai vaa vaa vaa
elimai kandhiranguvaai vaa vaa vaa
yeru pol nadaiyinaai vaa vaa vaa

Lyrics of oli padaitha':

Oli padaitha kanninai vaa vaa vaa
urudhi konda nenjinaai vaa vaa vaa

kali padaitha mozhinaai vaa vaa vaa
karunai konda tholinaai vaa vaa vaa

thelivu petra madhiyinaai vaa vaa vaa
sirumai kandu ponguvaai vaa vaa vaa

elimai kandirangu vaa vaa vaa vaa
yeru pol nadaiyinaai vaa vaa vaa

ilaya bharadhathinaai vaa vaa vaa
edirila balathinaai vaa vaa vaa

oli izhandha naatile nindredrum
udhaya nyayiroppave vaa vaa vaa

kalai izhandha naatile un pole
thalai sirakka vandhanai vaa vaa vaa

vilayum manmbu yavayum kathan pOl
vizhi illa vilakkuor vaa vaa vaa

Lyrics of 'Chandran oliyil avalai kanden' Bharathiar song.

raagam : Chandrakauns
Talam : chapu

pallavi

Chandran oLiyil avaLaik-kaNDEn
sharaNam enru pughundu koNDEn

anupallavi

indriyangaLai vendru vittEn
enadenrAshaiyaik-konru vittEn

Charanam 1

payanillAmal uzhaikka shonnAL
bhakti sheidu pizhaikka shonnAL
tuyarillAdenai sheidu viTTAL
tunbamenbadai koidu viTTAL

Charanam 2

meengaL sheyyum oLiyai sheidAL
vIshi nirkkum vaLiyai sheidAL
vAngaLuLLa veLiya sheidAL
vAzhi nenjirk-kaLiyai sheidAL




Lyrics of vellai thamarai :

Pallavi

Vellai tamarai puvil iruppal
vinai seiyum oliyil iruppal
kollai inbam kulavu kavidai kurum pavalar ullathilruppal


Anupallavi

ulladam porul thediyunarde
odum vedattin ulnindrolirval
kallamatra munivargal kurum
karunai vasagarku oru porulaval (vellai)

Charanam 1
madhar thengural paatil iruppal
makkal pesum mazhalaiyil ullal
geedam padum kuyilin kuralai
kiliyin navail iruppidum kondal

kodanganra tozhiludaitagi kulavu cittiram gopuram koyil
idanaithn ezhilidaiyutral inbame vadivagida petral (vellai)



Song : theeratha vilayattu pillai
Thalam: Ekam
Composer: Subramanya Bharathi
raagam: raagamaalikaa
Languae :tamil

Pallavi

theeraadha vilaiyaattup pillai - kannan
theruvilae pengalukkoayaadha thollai
(theeraadha)

thinnap pazham kondu varuvaan - paadhi
thinginra poadhilae thattip parippaan
ennappan ennaiyaan enraal - adhanai
echchir paduththik kadiththuk koduppaan
(theeraadha)

azhagulla malar kondu vandhae - ennai
azha ahach cheydhapin kannai moodik kol
kuzhalilae soottuvaen enbaan - ennaik
kurudaakki malarinai thoazhikku vaippaan
(theeraadha)

pinnalaip pinninrizhuppaan - thalai
pinnae thirumbumun naer senru maraivaan
vannap puduch chaelai thanilae - puzhudi
vaarich chorindhae varuththik kulaippaan
(theeraadha)

pullaanguzhal kondu varuvaan - amudhu
pongith thadhumbu nal geedham padaippaan
kallaal mayanguvadhu poalae - adhainaik
kanmoodi vaaythirandhae kaettiruppoam
(theeraadha)


Song : Nenjukku Needhiyum
Composer : Subramanya Bharatiyar
Ragam : Sindhu Bhairavi
Talam : Adi
Language : Tamil
Diety : Devi

Nenjukku NEdhiyum Tholukku VAlum
Niraindha Chudarmani Poon
Panjukku Nerpala ThunbangalAm Ival
Parvaikku NErperum Thee
Vanjanai Indri Pagai yindri SOdhindri
Vaiyaga Mandharellam
Thanjamendre urai pEr Aval PEr Shakthi
Om Shakthi, Om Shakthi, Om!

Nambhuvadhe vazhi Yendra Maraidhanai
NAmindru Nambivittom
Kumbitta NEramum Shakthi YendrAl unai
Kumbiduven manamE
Ambukkum ThEkkum Vidatthukkum Novukkum
AcchamillAdhabadi
Umbarkkum Imbarkkum Vazhvu Tharum padham
Om Shakthi, Om Shakthi, Om!

Vellai Malarmisai Veda Karupporu
LAga ViLangiduvAi
TheLLu Kalaithamizh VANi Ninakkoru
Vinnappanj CheythiduvEn
Elath Thanaippozhuthum Payanindri
Ira Thendran NavinilE
Vellamena pozhiVai shakthi Vel Shakthi
Vel Shakthi Vel, Shakthi Vel !



Song : Ayiram Ayiram gopiyargalodu
raagam : charukesi
Talam : Adi
Diety : Krishna
Language : tamil
Composer : Nila Ramamurti


Pallavi
Ayiram Ayiram gOpiyargaLoDu naTam
Adi viLaiyADi varum Ananda krishnan (avan)

AnuPallavinEyamODu ennai avan nADi vandu ninriDuvAn
neela varNa kaNNan avan kOla kuzhal oodhi nindrAn (ayiram)

Charanamkonjum shalangai olikka vanjiyarin veettu
tayir pAlai ellAm uNDu pashu pOlE oLindiDurAn
anji ninru aDiyum paTTu annaiyum viyandiDavE
aNDa charAcharam pavaLa vAyil kATTiDurAn (Ayiram)


Pallavi

aayarpaaDi maaLigayil taay maDiyil kanrinai pOl
maayakkaNNan toonguginraan taalElO

Anupallavi
avan vaay niraya maNNai unDu manDalatai kaaTTiya pin
OyveDuttu toonguginraan aaraarO
OyveDuttu toonguginraan aaraarO
(aayarpaaDi)

1 pinnalitta gopiyarin kannathile kannamittu
mannavan pol leelai seydhaan thaalelO
anda mandhiratthil avaLuranga mayakkathile ivanuranga
mandalame urangudhammaa aaraarO
mandalame urangudhammaa aaraarO
(aayarpaadi)

2 naagapadam meedhil avan nartthanangal aadiyadil
daagamellaam thheerthu kondaan thaalelo
andha mohanilai kooda oru yoganilai polirukkum
yaar avanai thoonga vittaal aaraarO
yaar avanai thoonga vittaal aaraarO
(aayarpaadi)

3 kannan avan thoongi vittaal kaashiniye thoongi vidum
annayare thuyilezhuppa vaareerO
avan ponnazhagai parppadharkkum
bodhai muttham peruvadharkkum
kanniyare gopiyare vareerO
kanniyare gopiyare vareerO
(aayaarpaaDi)




Song : Matha thunai purivai
Ragam : kanada
Talam : Adi
Composer : Papanasam Sivam
Language : Tamil


Pallavi

mAtha thunai purivAi
Jagan mAtha thunai purivAi

AnuPallavi

mAdhava sOdhari Malaiyarasan kumari
pAdham nambinen amba parvathi sankari

Charanam
ethanai thunbangal vandhalum nin
inbat thirunamam sollithudhikavum
ethanai inbangal nerndhalum en
idayam un poojaiyai marvadhirukkavum ( matha)

equal what. complementarity

Women represent 50 percent of world population they perform nearly two-thirds of all working hours receive one tenth of the worlds income and own just one percent of the world property.
comparatively the Vedic view of status of women is positive and constructive healthy and balanced a relationship based on mutual complementarity (a relationship or situation in which two or more different things improve or emphasize each other's qualities).
"a culture based on the complementarity of men and women" had  respect for one another.

Women is said to be the creator of the world. She is noble pious and worthy. she was well regarded in family and public life for she had the full right to choose her husband and mate. A perfect parity can be seen between the two as per the Vedic prayers where oneness of heart is sought between the husband and wife. it just goes to prove that in the household and society she has a place of a friend of equal status. Marriage in the Vedic philosophy is not a compromise or a contract undertaken. it is a sacrament a fulfilment of the highest goal in life a perfect companionship and hence designated as an ashrama meaning total functional dedication to the cause of family and religious duties for the welfare of society.
It was and is still followed that the Husband cannot perform any religious sacrifice without his wife sitting beside him for this reason she is even given the name dharmapatni. she is even known by dampati and samrajni. 

Vedic women

Yasyam bhutam samabhavat
Yasyam visvamidam jagat
Tamadya gatham gasyami
Ya strivamuttamam yasah.

The Vedas are a rich matrix of knowledge and have a distinguished place in the world literature for various reasons historical philosophical linguistic and otherwise. But they are singularly un paralleled in that they accord the highest esteem to women as an individual and an equally respectful status as a member of the family and society. The vedic depiction of women not only portrays their role in the family and society but also their affinity with the cosmic creative process and their identity as symbols of power and glory needless to say that the vedic view of women is a holistic one in which male and female are internally complimentary none is better or worse half they are just two equal halves of the same substance two aspects of the same reality.
The dignified picture of women power that emerge from these enunciations are uniformly impressive and eternally enviable. As regards the content of the Vedas connoting the identity of the status of women we find there are three levels. The transcendent women in the form of deities invoked in Vedic hymns; the extraordinary gifted woman described as female seers of Vedic hymns; the ordinary women depicted as daughter, wife, mother, sister etc.There are more than 20 female deities andas many as 27 female seers in RigVeda alone. These deities are described as personified female charm grace and freedom. Eg. Aditi is etymologicaly explained as unbinding freedom of boundlessness and she is the mother of the Gods. She denotes the endless expanse of the infinite cosmic power.
Viewed from the point of  view many rich refined and chiselled feminine images emerge from the Vedas in several shades; prominent among them Physical charm; Intellectual calibre; Familial rules; Social status; Spiritual strength:
Arthur Anthony Macdonell a professor of Sanskrit from Oxford says Usas is the most graceful creation of Vedic poetry and that there is no more charming figure in the descriptive religious lyrics of any other literature.
Usa the immortal goddess has shone in earlier days she shines today and she will shine hereafter never aging. Like a shining silver wheel she revolves ever anew effulgent in peerless beauty she does not give her light in discrimination but floods the entire world with her brilliant torch. Rising resplendent as from a bath showing her charms she approaches with light dispelling darkness.
The physical charm and feminine grace of a woman is so intricately woven in the Vedic diction of depiction of female goddesses that the poetic appeal of Vedas is also enhanced substantially.
Besides the beautiful goddesses of dawn Usa, the beautifully adorned  bride Surya who is wearing a lovely garment embellished with the gatha song she has decorated herself in such a way that thought was the pillow of her couch and sight the unguent of her eyes. heaven and earth her treasure box.
Saraswathy is the perfect feminine personification of mental capabilities wisdom imagination and creativity, a purifying power and source fountain of flowing knowledge, a mighty ocean of intellect, inspires of sweet words, impeller of noble thoughts etc.
Clarisse Bader a French writer writes Has not a time arrived we repeat to refresh ourselves from mere life giving and generous sources: And only India has the hon-our of affording such sources, there is a sense of duty dominating affections a feeling of respect for family life, a love for ones neighbors a charity including even animals a spirit of sacrifice an act of strengthening the heart.

Jambavati Parinayam.

The marriage of Jambavati and Satyabhama to Krishna is closely linked with the story of Syamantaka, the precious jewel, which has its mention in the Vishnu Purana and the Bhagavata Purana. The precious jewel originally belonged to the Sun god Surya. Surya pleased with his devotee – the Yadava nobleman, Satrajit, gave him the dazzling diamond as a gift. When Satrajit returned to the capital city of Dwarka with the jewel, people mistook him for Surya because of his dazzling glory. Krishna, impressed by the lustrous stone, asked him to present the jewel to Ugrasena, Mathura's king and Krishna's grandfather, but Satrajit did not comply.

Subsequently, Satrajit presented Syamantaka to his brother Prasena, who was a counselor. Prasena, who wore the jewel often, was attacked by a lion one day while hunting in the forest. He gets killed in a fierce battle and the lion flees with the jewel. The lion fails to retain the jewel though, as shortly after the battle, it enters Jambavan's mountain cave adobe, only to get killed. Jambavan, who seized the glittering jewel from the clutches of the lion gives it to his young son to play with.

Back in Dwarka, following the disappearance of Prasena, it was rumoured that Krishna, who had an eye on the Syamantaka jewel, had Prasena murdered and stolen the jewel. Krishna, who was furious with this false allegation, went out with other Yadavas in search of Prasena to establish his innocence by finding the jewel. He followed the trail that Prasena had taken and discovered the corpses of Prasena. He then followed the trail of the lion and reached the cave, where the dead lion was lying. Krishna told his fellow Yadavas to wait outside, while he entered the cave alone. Inside he saw a little child playing with the priceless jewel. As Krishna approached Jambavan's son, the child's nanny cried aloud, alerting Jambavan. The two then engaged in a furious combat for 27–28 days (as per Bhagavata Purana) or 21 days (as per Vishnu Purana). As Jambavan gradually grew tired, he realised that Krishna was none other his benefactor Rama from the Treta yuga. In gratitude and devotion to Krishna who spared his life, Jambavan gave up his fight and returned the jewel to Krishna. Jambavan offered his maiden daughter Jambavati in marriage to Krishna along with the Syamantaka jewel. Krishna accepted the proposal and married Jambavati. They then moved to Dwarka.

Meanwhile, Yadavas who accompanied Krishna to the cave had returned to the kingdom presuming Krishna as dead. Every member of the royal family had assembled to mourn his death. After returning to Dwarka, Krishna narrated the story of the recovery of the jewel and his marriage to Jambavati. He then returned the jewel to Satrajit in the presence of Ugrasena. Satrajit felt shy and ashamed to receive it as he had realised his error of judgement and his greediness. He then offered his daughter Satyabhama in marriage to Krishna along with the precious jewel. Krishna married Satyabhama, but refused the gem.

Jambavati  is one Ashtabharya, the ninth principal queen-consorts of Hindu god Krishna, an avatar of the god Vishnu and the king of Dwarka – in the Dwapara Yuga (epoch). While she was married second to Krishna, Jambavati was fourth in the order of importance after Rukmini and Satyabhama, whom Krishna married fourth. She was the only daughter of the bear-Jambavatiking Jambavan. Krishna married her, when he defeated Jambavan to retrieve the stolen Syamantaka jewel.

In puranic literature, Jambavati has been an epic character in Bhagavata Purana, Mahabharata, Harivamsa and Vishnu Purana. The legend of the fight between Jambavan and Krishna's over the Syamantaka jewel has been prominently featured. Even the great ruler of the kingdom of Vijayanagara, Krishnadevaraya, composed a drama called the Jambava Kalyanam. Ekaramantha wrote a poem with the theme Jambavati Parinayam (meaning: Jambavati's marriage).