Mahabharata: Volume 4 (3 page)

Reading the Mahabharata, one forms the impression that it is based on some real incidents. That does not mean that a war on the scale that is described took place. Or that miraculous weapons and chariots were the norm. But there is such a lot of trivia, unconnected with the main story, that their inclusion seems to serve no purpose unless they were true depictions. For instance, what does the physical description of Kripa’s sister and Drona’s wife, Kripi, have to do with the main story? It is also more real than the Ramayana because nothing, especially the treatment of human emotions and behaviour, exists in black and white. Everything is in shades of grey. The Uttara Kanda of the Ramayana is believed to have been a later interpolation. If one excludes the Uttara Kanda, we generally know what is good. We know who is good. We know what is bad. We know who is bad. The Ramayana is like a clichéd Bollywood film. This is never the case with the Mahabharata. However, a qualification is necessary. Most of us are aware of the Mahabharata story because we have read some version or the other, typically an abridged one. Every abridged version simplifies and condenses, distills out the core story. And in doing
that, it tends to paint things in black and white, fitting everything into the mould of good and bad. The Kouravas are bad. The Pandavas are good. And good eventually triumphs. The unabridged Mahabharata is anything but that. It is much more nuanced. Duryodhana isn’t invariably bad. He is referred to as Suyodhana as well, and not just by his father. History is always written from the point of view of the victors. While the Mahabharata is generally laudatory towards the Pandavas, there are several places where the text has a pro-Kourava stance. There are several places where the text has an anti-Krishna stance. That’s yet another reason why one should read an unabridged version, so as not to miss out on these nuances. Take the simple point about inheritance of the kingdom. Dhritarashtra was blind. Consequently, the king was Pandu. On Pandu’s death, who should inherit the kingdom? Yudhishthira was the eldest among the brothers. (Actually, Karna was, though it didn’t become known until later.) We thus tend to assume that the kingdom was Yudhishthira’s by right, because he was the eldest. (The division of the kingdom into two, Hastinapura and Indraprastha, is a separate matter.) But such primogeniture was not universally clear. A case can also be established for Duryodhana, because he was Dhritarashtra’s son. If primogeniture was the rule, the eldest son of the Pandavas was Ghatotkacha, not Abhimanyu. Before both were killed, Ghatotkacha should have had a claim to the throne. However, there is no such suggestion anywhere. The argument that Ghatotkacha was the son of a rakshasa or demon will not wash. He never exhibited any demonic qualities and was a dutiful and loving son. Karna saved up a weapon for Arjuna and this was eventually used to kill Ghatotkacha. At that time, we have the unseemly sight of Krishna dancing around in glee at Ghatotkacha being killed.

In the Mahabharata, because it is nuanced, we never quite know what is good and what is bad, who is good and who is bad. Yes, there are degrees along a continuum. But there are no watertight and neat compartments. The four objectives of human existence are dharma, artha, kama and moksha. Etymologically, dharma is that which upholds. If one goes by the Bhagavad Gita, pursuit of these four are also transient diversions. Because the fundamental objective is to transcend these four, even moksha. Within these four, the Mahabharata is
about a conflict of dharma. Dharma has been reduced to
varnashrama
dharma, according to the four classes (
varna
s) and four stages of life (
ashrama
s). However, these are collective interpretations of dharma, in the sense that a Kshatriya in the
garhasthya
(householder) stage has certain duties. Dharma in the Mahabharata is individual too. Given an identical situation, a Kshatriya in the garhasthya stage might adopt a course of action that is different from that adopted by another Kshatriya in the garhasthya stage, and who is to judge what is wrong and what is right? Bhishma adopted a life of celibacy. So did Arjuna, for a limited period. In that stage of celibacy, both were approached by women who had fallen in love with them. And if those desires were not satisfied, the respective women would face difficulties, even death. Bhishma spurned the advance, but Arjuna accepted it. The conflict over dharma is not only the law versus morality conflict made famous by Krishna and Arjuna in the Bhagavad Gita. It pervades the Mahabharata, in terms of a conflict over two different notions of dharma. Having collectively married Droupadi, the Pandavas have agreed that when one of them is closeted with Droupadi, the other four will not intrude. And if there is such an instance of intrusion, they will go into self-exile. Along comes a Brahmana whose cattle have been stolen by thieves. Arjuna’s weapons are in the room where Droupadi and Yudhishthira are. Which is the higher dharma? Providing succour to the Brahmana or adhering to the oath? Throughout the Mahabharata, we have such conflicts, with no clear normative indications of what is wrong and what is right, because there are indeed no absolute answers. Depending on one’s decisions, one faces the consequences and this brings in the unsolvable riddle of the tension between free will and determinism, the so-called karma concept. The boundaries of philosophy and religion blur.

These conflicts over dharma are easy to identify with. It is easy to empathize with the protagonists, because we face such conflicts every day. That is precisely the reason why the Mahabharata is read even today. And the reason one says every conceivable human emotion figures in the story. Everyone familiar with the Mahabharata has thought about the decisions taken and about the characters. Why was life so unfair to Karna? Why was Krishna partial to the Pandavas?
Why didn’t he prevent the war? Why was Abhimanyu killed so unfairly? Why did the spirited and dark Droupadi, so unlike the Sita of the Ramayana, have to be humiliated publicly?

It is impossible to pinpoint when and how my interest in the Mahabharata started. As a mere toddler, my maternal grandmother used to tell me stories from
Chandi
, part of the Markandeya Purana. I still vividly recollect pictures from her copy of
Chandi
: Kali licking the demon Raktavija’s blood. Much later, in my early teens, at school in Ramakrishna Mission, Narendrapur, I first read the Bhagavad Gita, without understanding much of what I read. The alliteration and poetry in the first chapter was attractive enough for me to learn it by heart. Perhaps the seeds were sown there. In my late teens, I stumbled upon Bankimchandra Chattopadhyay’s
Krishna Charitra
, written in 1886. Bankimchandra was not only a famous novelist, he was a brilliant essayist. For a long time,
Krishna Charitra
was not available other than in Bengali. It has now been translated into English, but deserves better dissemination. A little later, when in college, I encountered Buddhadeb Bose’s
Mahabharater Katha
. That was another brilliant collection of essays, first serialized in a magazine and then published as a book in 1974. This too was originally in Bengali, but is now available in English. Unlike my sons, my first exposure to the Mahabharata story came not through television serials but comic books. Upendrakishore Raychowdhury’s Mahabharata (and Ramayana) for children was staple diet, later supplanted by Rajshekhar Basu’s abridged versions of both epics, written for adults. Both were in Bengali. In English, there was Chakravarti Rajagopalachari’s abridged translation, still a perennial favourite. Later, Chakravarthi Narasimhan’s selective unabridged translation gave a flavour of what the Mahabharata actually contained. In Bengal, the Kashiram Das version of the Mahabharata, written in the seventeenth century, was quite popular. I never found this appealing. But in the late 1970s, I stumbled upon a treasure. Kolkata’s famous College Street was a storehouse of old and second-hand books in those days. You never knew what you would discover when browsing. In the nineteenth
century, an unabridged translation of the Mahabharata had been done in Bengali under the editorship of Kaliprasanna Singha (1840–70). I picked this up for the princely sum of Rs 5. The year may have been 1979, but Rs 5 was still amazing. This was my first complete reading of the unabridged version of the Mahabharata. This particular copy probably had antiquarian value. The pages would crumble in my hands and I soon replaced my treasured possession with a republished reprint. Not longer after, I acquired the Aryashastra version of the Mahabharata, with both the Sanskrit and the Bengali together. In the early 1980s, I was also exposed to three Marathi writers writing on the Mahabharata. There was Iravati Karve’s
Yuganta
. This was available in both English and in Marathi. I read the English one first, followed by the Marathi. The English version isn’t an exact translation of the Marathi and the Marathi version is far superior. Then there was Durga Bhagwat’s
Vyas Parva
. This was in Marathi and I am not aware of an English translation. Finally, there was Shivaji Sawant’s
Mritunjaya
, a kind of autobiography for Karna. This was available both in English and in Marathi.

In the early 1980s, quite by chance, I encountered two shlokas, one from Valmiki’s Ramayana, the other from Kalidasa’s
Meghadutam
. These were two poets separated by anything between 500 to 1,000 years, the exact period being an uncertain one. The shloka in
Meghadutam
is right towards the beginning, the second shloka to be precise. It is the first day in the month of Ashada. The yaksha has been cursed and has been separated from his beloved. The mountains are covered with clouds. These clouds are like elephants, bent down as if in play. The shloka in the Valmiki Ramayana occurs in Sundara Kanda. Rama now knows that Sita is in Lanka. But the monsoon stands in the way of the invasion. The clouds are streaked with flags of lightning and garlanded with geese. They are like mountain peaks and are thundering, like elephants fighting. At that time, I did not know that elephants were a standard metaphor for clouds in Sanskrit literature. I found it amazing that two different poets separated by time had thought of elephants. And because the yaksha was pining for his beloved, the elephants were playing. But because Rama was impatient to fight, the elephants were fighting. I resolved that I must
read all this in the original. It was a resolution I have never regretted. I think that anyone who has not read
Meghadutam
in Sanskrit has missed out on a thing of beauty that will continue to be a joy for generations to come.

In the early 1980s, Professor Ashok Rudra was a professor of economics in Visva-Bharati, Santiniketan. I used to teach in Presidency College, Kolkata, and we sometimes met. Professor Rudra was a left-wing economist and didn’t think much of my economics. I dare say the feeling was reciprocated. By tacit agreement, we never discussed economics. Instead, we discussed Indological subjects. At that point, Professor Rudra used to write essays on such subjects in Bengali. I casually remarked, ‘I want to do a statistical test on the frequency with which the five Pandavas used various weapons in the Kurukshetra war.’ Most sensible men would have dismissed the thought as crazy. But Professor Rudra wasn’t sensible by usual norms of behaviour and he was also a trained statistician. He encouraged me to do the paper, written and published in Bengali, using the Aryashastra edition. Several similar papers followed, written in Bengali. In 1983, I moved to Pune, to the Gokhale Institute of Politics and Economics, a stone’s throw away from BORI.
Annals of the Bhandarkar Oriental Research Institute
(
ABORI
) is one of the most respected journals in Indology. Professor G.B. Palsule was then the editor of
ABORI
and later went on to become Director of BORI. I translated one of the Bengali essays into English and went and met Professor Palsule, hoping to get it published in
ABORI
. To Professor Palsule’s eternal credit, he didn’t throw the dilettante out. Instead, he said he would get the paper refereed. The referee’s substantive criticism was that the paper should have been based on the critical edition, which is how I came to know about it. Eventually, this paper (and a few more) were published in
ABORI
. In 1989, these became a book titled
Essays on the Ramayana and the Mahabharata
, published when the Mahabharata frenzy had reached a peak on television. The book got excellent reviews, but hardly sold. It is now out of print. As an aside, the book was jointly dedicated to Professor Rudra and Professor Palsule, a famous economist and a famous Indologist respectively. Both were flattered. However, when I gave him a copy, Professor Rudra said, ‘Thank
you very much. But who is Professor Palsule?’ And Professor Palsule remarked, ‘Thank you very much. But who is Professor Rudra?’

While the research interest in the Mahabharata remained, I got sidetracked into translating. Through the 1990s, there were abridged translations of the Maha Puranas, the Vedas and the eleven major Upanishads. I found that I enjoyed translating from the Sanskrit to English and since these volumes were well received, perhaps I did do a good job. With Penguin as publisher, I did a translation of the Bhagavad Gita, something I had always wanted to do.
Sarama and Her Children
, a book on attitudes towards dogs in India, also with Penguin, followed. I kept thinking about doing an unabridged translation of the Mahabharata and waited to muster up the courage. That courage now exists, though the task is daunting. With something like two million words and ten volumes expected, the exercise seems open-ended. But why translate the Mahabharata? In 1924, George Mallory, with his fellow climber Andrew Irvine, may or may not have climbed Mount Everest. They were last seen a few hundred metres from the summit, before they died. Mallory was once asked why he wanted to climb Everest and he answered, ‘Because it’s there.’ Taken out of context, there is no better reason for wanting to translate the Mahabharata. There is a steep mountain to climb. And I would not have dared had I not been able to stand on the shoulders of the three intellectual giants who have preceded me—Kisori Mohan Ganguli, Manmatha Nath Dutt and J.A.B. van Buitenen.