Puranic Encyclopaedia: A Comprehensive Dictionary with Special Reference to the Epic and Puranic Literature c7.1596

c7.1596

once Kaca came back to life and stood before them. All the three then returned to the āśrama happily. The anger of the Asuras against Kaca knew no bounds. On another occasion the Asuras seized him and after killing him pounded his body into a paste and mixed it up in sea-water. This time also, at the request of Devayānī, Śukrācārya brought him back to life. The third time the Asuras burnt the body of Kaca and mixed the ashes in wine and served it to Śukrācārya to drink. The disciple thus went inside the belly of the guru. Dusk came, the cattle came and still Kaca did not return and Devayānī reported the matter to her father. Śukrācārya sat for some time in meditation and then he knew that Kaca was in his own stomach. If he got Kaca out, he would burst his stomach and Śukra would die and if he did not get him out his daughter would burst her heart and die. Śukrācārya was in a fix. He asked Kaca how he got in and he replied that it was through the wine. Śukra imparted to Kaca the art of Mṛtasañjīvanī and Kaca lying within the stomach repeated it. Then Śukrācārya called Kaca by name and Kaca came out bursting the stomach of his guru. The preceptor lay dead and by employing the art of Mṛtasañjīvanī he had learnt, Kaca brought his guru to life. Śukrācārya eschewed wine from that day onwards and declared it as a forbidden drink to brahmins. Śukrācārya said that because Kaca was reborn from his stomach he must be deemed his son.
3) Kaca was cursed. Kaca remained for some more time under the tutelage of Śukrācārya and when his education became complete he took leave of his preceptor and also Devayānī. Devayānī followed him for a long distance from the hermitage and requested him to marry her. Kaca replied he could not do so because he had become a brother to Devayānī. Devayānī got angry and cursed him saying that he would not be able to use the art of Mṛtasañjīvanī he had learnt from her father. Kaca cursed her back saying that none of the sons of sages would marry her. Kaca however felt relieved that though he would not be able to practise the art, his disciples would be able to do so. He went to Devaloka and was heartily welcomed by all the Devas. He then imparted the art of Mṛtasañjīvanī to the devas. (Chapters 76 and 77, Ādi Parva, M.B.).
4) Kaca visits Bhīṣma. Kaca was also among the several people who visited Bhīṣma while the latter was lying on a bed of arrows awaiting death. (Śloka 9, Chapter 47, Śānti Parva, M.B.). KACCHAM. An ancient place of habitation. (Śloka 19, Chapter 54, Śalya Parva, M.B.). KACCHAPAM. One of the nine treasures of Kubera. KACCHAPĪ. Name of the harp of Nārada. (Śloka 19, Chapter 54, Śalya Parva, M.B.). KADALĪGARBHĀ. Daughter of the great sage Maṅkaṇaka. There is a story about her in Kathāsaritsāgara. There was once a city called Ikṣumatī. It was on the banks of the river Ikṣumatī. It was Viśvāmitra who set up that river and city. In a hermitage in the thick forest on the shores of Ikṣumatī lived a sage, Maṅkaṇaka performing penance. One day the beautiful nymph Menakā, came there from above. As a wind blew, her upper garment was displaced. Seeing her bare body, Maṅkaṇaka had emission. The semen of the sage fell into a Kadalī (plantain) tree and from there arose a maiden, extremely beautiful. Because she was born from Kadalī she was called Kadaligarbhā. Kadaligarbhā grew up into a beautiful lady and one day a King named Dṛḍhavarmā came that way while hunting and seeing Kadaligarbhā he fell in love with her and married her with the permission of Maṅkaṇaka. The Devas advised her to scatter mustard seeds on the way to her husband's house and in case her husband abandoned her she should be guided by the mustard plants to return home. She did so.