The three princesses of Kashi were procured by Bhishma to marry his young half-brother, Vichitravirya.  Amba confesses she is in love with another man, but her sisters Ambika and Ambilika stay in Hastipurina and grow to love their shared husband.  Unfortunately, the young king dies before having any children. With the approval of Bhishma, Satyavati calls her first born son, Vyasa, with her thoughts.  He immediately comes from the island where he had been deep in penance and his appearance neglected.  His mother describes the fate facing the Kuru dynasty, so he agrees to visit the wives of his brother.   Satyavati then tells Ambika and Ambalika it is their duty as princess and wife to welcome the sage to their beds and produce an heir to the throne.

Some people might raise their eyebrows at the language I use in this chapter.  But, Buck is rather direct with many of his descriptions; the innuendos are not so subtle.  Under the Sheets is a look at the thoughts of two women struggling to comprehend the relationship between love and intimacy.  My thoughts and research follow the monologue.

Three children are born from these unions.  Ambika’s son, Dhritarashtra is blind because she “shut her eyes during conception” (Narayan 7).  Ambalika’s son, Pandu, is pale because she “turned pale with fright” (Narayan 7).  The son of Ambika’s maidservant, Vidura, is normal because she “was bold and responsive” (Narayan 7).  Unlike most of the chapters in this project, Buck gives less detail than Narayan on the story.  The main difference is Buck claims Vyasa spends a month with Ambika, the next month with Ambalika, and a third month with the maidservant.  Narayan’s version asserts that Vyasa is to meet with Ambalika a second time, but she sends her maidservant instead.  Narayan also poetically includes the blessings and curses of Vyasa following the sexual encounters.

The idea of a levirate marriage is introduced in Chapter Two.  This situation with sage Vyasa and the princesses of Kashi is the extreme practice.  A similar, more pleasant story occurs in the Old Testament when Naomi encourages her daughter-in-law, Ruth, to pursue Boaz as the kinsman redeemer.  Here, the mother-in-law Satyavati pledges her eldest son, who was born out of wedlock, to the widows of her youngest son with King Dushyanta.  It is ironic that the purpose is to perpetuate the Bharata lineage, when in fact no Bharata blood runs through the veins of Prince Dhritarashtra or Prince Pandu.  With this as a foundation, is it any wonder the family is dysfunctional!?!

Some people, usually men, do not associate the giving of their body with the giving of their heart.  Many, especially women, tie the two together.  Offering her body to her partner epitomizes her commitment.  It signifies she is in love.  In this case, Ambika and Ambalika’s heart is tied to Vichitravirya.  They are forced into loveless copulation with their brother-in-law in order to produce an heir to the throne.  True love and passion, however, cannot be bought or demanded.  Intimacy comes only when a woman gives it freely on her own terms.

The separation of love and sex becomes an important premise of the relationship of Pandu and his wives, Kunti and Madri.  Pandu is cursed to a life of celibacy, so he prostitutes his wives to the gods in order to have children.  Out of devotion to their husband, they vulnerably join flesh with another.  Kunti's longing for intimacy with her husband is apparent when she cries at the funeral of Pandu and Madri, "She was more fortunate than I, to have seen his face alive again" (Buck 35).