Hitopadesha Book 1 - 0009 - How Tungabal was wounded by the looks of Lavanyavati

Table of Contents

• Love, Law, and a Helpful Attendant
  • Recap
  • Temptation of Tungabal
• Analysis
  • Duty, Desire, and Loopholes
  • Character Archetypes
  • Parallels from other Texts
  • Conclusion

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Love, Law, and a Helpful Attendant

Recap

Following Hiranyaka’s loss of his material fortune, the tortoise Manthara shares a tale to warn against the dangers of excessive hoarding, prompting a discussion on adaptability and mental balance. The group then expands their circle by welcoming a fleeing deer, Chitranga, which immediately forces them to confront a dilemma. To show the consequences of moving without a sound strategy, Hiranyaka warns that they will suffer just like the merchant’s son whose wife was improperly handled, prompting the others to ask how that happened and leading directly into the tale of a merchant, his wife and prince.

Temptation of Tungabal

There was a king called Veerasena who ruled the kingdom of Kanyakubja. He wanted to train his son Tungabal, so he asked him to take over and become the governor of the city of Veerapura. The young prince was happy to get this responsibility and wanted to prove himself. He set about his tasks seriously. One day, like many other days, Tungabal was out on his rounds. It was a hot day, and the prince was in the busy market place. Some of his guards were holding an umbrella over his head, while some were trying to clear the way. They would ask the people to step aside and make way. Tungabal would look around and greet the people. Then he saw her. Jostled by the guards, she had looked up, wanting to know why she had to move. There was something in her eyes, the way she moved her eyebrows, something in her look, and Tungabal was wounded. Kama had shot his arrows. Tungabal felt the need to possess her. How could he? In a public place? He controlled himself and gradually turned away and looked at something else, though occasionally he would turn his head to see what the woman was doing. What to do? He needed to approach this properly. The first thing was to find out who she was. Once he knew who she was, he would think what was to be done next. He asked a few guards to find out more about the woman, pointing her out to them. He then returned home. Alone, all he did was think about her. Then a guard came and told the prince that the lady was Lavanyavati, the wife of a merchant called Charudutta. Not able to control himself any further, he sent for a female attendant. The attendant who came was an elderly woman who had been his nurse. He told her about his feelings and desire. What shall I do? How do I get her? This was his query. The attendant said she would try and get Lavanyavati to the palace. Saying this, the attendant left and the prince sat there, lost in thoughts.

It is said that a person is able to control his senses as long as he is aware of his self-respect and maintains his disciplined upbringing. The moment the person is wounded by the arrows of desire, psychological stability is lost.

The attendant went and asked for Lavanyavati. When she came, the attendant said she wanted to speak to her in private. Lavanyavati took her inside a room. When the attendant spoke about the prince, Lavanyavati said she had a confession to make. She too was pining for Tungabal, since she had seen him. The attendant thought her work was going to be easy. She then told Lavanyavati that the prince would be expecting her, and asked her to come to the palace. Hearing that Lavanyavati said:

I am a devoted, faithful wife. How can I possibly participate in such a sin and betray my husband? A true wife is one who can efficiently manage her home and children, and whose life revolves around her husband. A true wife would be faithful to her husband. If the husband is unhappy or dissatisfied, then the wife is not a true wife. I will not come to the palace. I should not. But if my husband gives his permission, then I will come.

The attendant, who was a woman herself, agreed with what Lavanyavati had said. She then took leave of the lady and went back to the palace.

Tungabal had been impatient. He could not wait to spend time with Lavanyavati. He would go and ask the guards if the attendant had returned. Finally, when he heard that the attendant had come back, he went to meet her. He was disappointed. The woman was alone. Not sure what had happened, he took the attendant to his room. There the woman told Tungabal what Lavanyavati had said. Hearing that, Tungabal said:

How will I live without her? I am dying to hold her in my arms. I think I will give up my life.

The attendant said:

My prince, why do you worry? You did not hear carefully what Lavanyavati had said. She had said she will come if her husband permits her. Well, I think I will work out something for you, such that the husband will agree to send her here.

Tungabal asked:

How is that possible? Why will the husband permit his wife?

The woman said:

We need to use deception. What can be achieved through a clever, calculated plot cannot be accomplished by physical power or violence. After all, a tiny jackal managed to completely destroy a massive elephant simply by tricking it into walking down a path covered in deep, sticky mud where it got trapped.

Tungabal asked:

How did the jackal do this?

In reply, the woman began telling that story.

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Analysis

Duty, Desire, and Loopholes

In Indian philosophy, Kama (desire/pleasure) is a legitimate goal of human life as long as it is regulated by Dharma (righteousness/duty). The prince had been given administrative responsibilities and a single glance had destabilized his mental poise. His upbringing, discipline - all evaporated. He had lost his control over his senses. He even wanted to die.

While this was the prince’s situation, Lavanyavati shared a complex, almost paradoxical take on the duties of a true faithful wife. She admitted that she was attracted to the prince; after all human desires were natural. As a true wife, she said, she would not want to commit a sin by taking a lover, without her husband’s approval. She created that loophole, to satisfy the forbidden desire. Well, if she did go to the prince, the one responsible for that would be her husband and not her.

The attendant advised the prince well. She knew the prince and knew that royalty could use power or force to seize Lavanyavati. That could cause rebellion and violate statecraft. So, she said they should use strategy. That would give results. She started telling a story of an elephant and a jackal, which represented strength versus malicious intellect.

Character Archetypes

Let me share the names of the characters here and how they fit in the tale.

King Veerasena – The word Veerasena is derived from veer (brave) and Sena (army), meaning a brave leader. Someone who has authority and is disciplined.

Prince Tungabal – The word Tungabal is derived from Tunga (loft) and bal (power). It means someone having great strength. So, the prince is probably someone having physical and political power. Despite that, he lacks internal strength, which is needed to master his senses.

Lavanyavati – The word literally means someone having beauty, grace and charm (from the word Lavanya). She is the reason for the prince’s loss of control. It is her charm that overwhelms the prince.

There are a few places mentioned. Kanyakubja is the ancient name for Kannauj. It was a centre of power. Veerapura means a city of heroes.

Tungabal starts off as an eager administrator. His subsequent actions show a rapid descent from authority to helplessness. The moment he spots Lavanyavati, his focus vanishes.

Lavanyavati confesses that she has been pining for the prince, meaning her internal fidelity has wavered. Even then, she talks about the duties of a faithful wife. She concludes with the statement that she will commit this act if her husband permits it. She refuses to take personal ethical responsibility.

The attendant, instead of counselling the prince against coveting another man's wife, becomes an active accomplice. She notices the loophole in Lavanyavati's logic and immediately realizes that force is unnecessary. She will bring in the concept of deception, setting up the story about the jackal and the elephant.

This tale is introduced by the mouse Hiranyaka as a warning about the dangers of acting without a sound, comprehensive strategy.

The characters are personifications of human psychological states.

Character	Psychological Representation	Who They Are in Daily Life
Tungabal	Unrestrained Desire: Prince’s intellect is hijacked leading to abandonment of logic and duty.	The person who achieves quick success or authority, only to ruin it by chasing a sudden impulse, addiction, or unethical shortcut because they cannot handle a temporary setback or craving.
Lavanyavati	Conditional Virtue & Conflicted Morality: She values her public reputation of fidelity, yet has hidden desires. Her virtue is transactional—she defers the moral choice to an external authority (her husband) rather than sticking to an absolute internal standard.	People who know a certain action is ethically compromised, but look for a loophole to shift the blame away from themselves.
The Attendant	Enabling Intellect & Misplaced Loyalty: She represents corrupted strategy or dangerous counsel. Instead of steering the prince away, she uses logic and deception to satisfy harmful desires.	Enablers, corrupt advisors, or toxic associates who use their intelligence to help someone commit an unethical act, justifying it under the banner of loyalty or "getting the job done."

Parallels from other Texts

Let me point out similar parallels from other texts.

The Downfall of Unrestrained Impulse - The Valmiki Ramayana (Aranya Kanda, Chapter 32–34) - Ravana is a learned king and scholar, yet the moment his sister Shurpanakha describes Sita’s beauty, his stability collapses. Like Tungabal, he becomes consumed by the need to possess her, and relies on deception rather than strength. In Vyasa’s Mahabharata (Adi Parva), Shantanu falls in love with Satyavati and cannot focus on his duties, eventually forcing his son Devavrata to take the vow of lifelong celibacy (becoming Bhishma) just to satisfy his father’s craving.

Deceptive Strategy – The Valmiki Ramayana (Ayodhya Kanda, Chapter 7–9) - Manthara acts like the attendant. She uses manipulative arguments to poison Kaikeyi's mind and comes up with a plot to banish Rama. The Mahabharata (Sabha Parva, Chapter 55–60) - Shakuni represents a corrupt advisor. When Duryodhana is consumed by envy and desire, Shakuni tells him not to use physical force but rather a clever plot—the game of dice—to trap them.

There is a story that I could think of that is not Indian, but has a similar tone. King Uther falls into despair, like Tungabal, because of his passion for Igraine, who is someone else’s wife. That is when Merlin steps in and helps Uther get her.

Conclusion

This story is not part of the Panchatantra, but the subsequent story of the elephant and the jackal has parallels and I will talk about that next week.

So, the attendant starts telling the story. Next week I will share that tale here. We’ll see what happens to the prince, Lavanyavati, and also the four friends.