A few comments on the translation are now in order. First, there is the vexed question of diacritical marks—should they be used or not? Diacritical marks make the translation and pronunciation more accurate, but often put readers off. Sacrificing academic purity, there is thus a conscious decision to avoid diacritical marks. Second, since diacritical marks are not being used, Sanskrit words and proper names are written in what seems to be phonetically natural and the closest—such as, Droupadi rather than Draupadi. There are rare instances where avoidance of diacritical marks can cause minor confusion, for example, between Krishna (Krishnaa) as in Droupadi9 and Krishna as in Vaasudeva. However, such instances are extremely rare and the context should make these differences, which are mostly of the gender kind, clear. Third, there are some words that simply cannot be translated. One such word is dharma. More accurately, such words are translated the first time they occur. But on subsequent occasions, they are romanized in the text. Fourth, the translation sticks to the Sanskrit text as closely as possible. If the text uses the word Kounteya, this translation will leave it as Kounteya or Kunti’s son and not attempt to replace it with Arjuna. Instead, there will be a note explaining that in that specific context Kounteya refers to Arjuna or, somewhat more rarely, Yudhishthira or Bhima. This is also the case in the structure of the English sentences. To cite an instance, if a metaphor occurs towards the beginning of the Sanskrit shloka, the English sentence attempts to retain it at the beginning too. Had this not been done, the English might have read smoother. But to the extent there is a trade-off, one has stuck to what is most accurate, rather than attempting to make the English smooth and less stilted.
As the table shows, the parvas (in the eighteen-parva classification) vary widely in length. The gigantic Aranyaka or Shanti Parva can be contrasted with the slim Mousala Parva. Breaking up the translation into separate volumes based on this eighteen-parva classification therefore doesn’t work. The volumes will not be remotely similar in size. Most translators seem to keep a target of ten to twelve volumes when translating all the parvas. Assuming ten volumes, 10 per cent means roughly 200 chapters and 7000 shlokas. This works rather well for Adi Parva, but collapses thereafter. Most translators therefore have Adi Parva as the first volume and then handle the heterogeneity across the eighteen parvas in subsequent volumes. This translation approaches the break-up of volumes somewhat differently, in the sense that roughly 10 per cent of the text is covered in each volume. The complete text, as explained earlier, is roughly 200 chapters and 7,000 shlokas per volume. For example, then, this first volume has been cut off at 199 chapters and a little less than 6,500 shlokas. It includes 90 per cent of Adi Parva, but not all of it and covers the first fifteen parvas of the 100-(or 98-) parva classification.
The Mahabharata is one of the greatest stories ever told. It has plots and subplots and meanderings and digressions. It is much more than the core story of a war between the Kouravas and the Pandavas, which everyone is familiar with, the culmination of which was the battle in Kurukshetra. In the Adi Parva, there is a lot more which happens before the Kouravas and the Pandavas actually arrive on the scene. In the 100-parva classification, the Kouravas and the Pandavas don’t arrive on the scene until Section 6.
From the Vedas and Vedanta literature, we know that Janamejaya and Parikshit were historical persons. From Patanjali’s grammar and other contemporary texts, we know that the Mahabharata text existed by around 400 BCE. This need not of course be the final text of Mahabharata, but could have been the original text of Jaya. The Hindu eras or yugas are four in number—Satya (or Krita) Yuga, Treta Yuga, Dvapara Yuga and Kali Yuga. This cycle then repeats itself, with another Satya Yuga following Kali Yuga. The events of the Ramayana occurred in Treta Yuga. The events of the Mahabharata occurred in Dvapara Yuga. This is in line with Rama being Vishnu’s seventh incarnation and Krishna being the eighth. (The ninth is Buddha and the tenth is Kalki.) We are now in Kali Yuga. Kali Yuga didn’t begin with the Kurukshetra war. It began with Krishna’s death, an event that occurred thirty-six years after the Kurukshetra war. Astronomical data do exist in the epic. These can be used to date the Kurukshetra war, or the advent of Kali Yuga. However, if the text was composed at different points in time, with additions and interpolations, internal consistency in astronomical data is unlikely. In popular belief, following two alternative astronomers, the Kurukshetra war has been dated to 3102 BCE (following Aryabhatta) and 2449 BCE (following Varahamihira). This doesn’t mesh with the timelines of Indian history. Mahapadma Nanda ascended the throne in 382 BCE, a historical fact on which there is no dispute. The Puranas have genealogical lists. Some of these state that 1050 years elapsed between Parikshit’s birth and Mahapadma Nanda’s ascension. Others state that 1015 years elapsed. (When numerals are written in words, it is easy to confuse 15 with 50.) This takes Parikshit’s birth and the Kurukshetra war to around 1400 BCE. This is probably the best we can do, since we also know that the Kuru kingdom flourished between 1200 BCE and 800 BCE. To keep the record straight, archaeological material has been used to bring forward the date of the Kurukshetra war to around 900 BCE, the period of the Iron Age.
As was mentioned, in popular belief, the incidents of the Ramayana took place before the incidents of the Mahabharata. The Ramayana story also figures in the Mahabharata. However, there is no reference to any significant Mahabharata detail in the Ramayana. Nevertheless, from reading the text, one gets the sense that the Mahabharata represents a more primitive society than the Ramayana. The fighting in the Ramayana is more genteel and civilized. You don’t have people hurling rocks and stones at each other, or fighting with trees and bare arms. Nor do people rip apart the enemy’s chest and drink blood. The geographical knowledge in the Mahabharata is also more limited than in the Ramayana, both towards the east and towards the south. In popular belief, the Kurukshetra war occurred as a result of a dispute over land and the kingdom. That is true, in so far as the present text is concerned. However, another fight over cattle took place in the Virata Parva and the Pandavas were victorious in that too. This is not the place to expand on the argument. But it is possible to construct a plausible hypothesis that this was the core dispute. Everything else was added as later embellishments. The property dispute was over cattle and not land. In human evolution, cattle represents a more primitive form of property than land. In that stage, humankind is still partly nomadic and not completely settled. If this hypothesis is true, the Mahabharata again represents an earlier period compared to the Ramayana. This leads to the following kind of proposition. In its final form, the Mahabharata was indeed composed after the Ramayana. But the earliest version of the Mahabharata was composed before the earliest version of the Ramayana. And the events of the Mahabharata occurred before the events of the Ramayana, despite popular belief. The proposition about the feud ending with Virata Parva illustrates the endless speculation that is possible with the Mahabharata material. Did Arjuna, Nakula and Sahadeva ever exist? Nakula and Sahadeva have limited roles to play in the story. Arjuna’s induction could have been an attempt to assert Indra’s supremacy. Arjuna represents such an integral strand in the story (and of the Bhagavad Gita), that such a suggestion is likely to be dismissed out of hand. But consider the following. Droupadi loved Arjuna a little bit more than the others. That’s the reason she was denied admission to heaven. Throughout the text, there are innumerable instances where Droupadi faces difficulties. Does she ever summon Arjuna for help on such occasions? No, she does not. She summons Bhima. Therefore, did Arjuna exist at all? Or were there simply two original Pandava brothers—one powerful and strong, and the other weak and useless in physical terms. Incidentally, the eighteen-parva classification is clearly something that was done much later. The 100-parva classification seems to be older.
The Mahabharata is much more real than the Ramayana. And, therefore, much more fascinating. Every conceivable human emotion figures in it, which is the reason why it is possible to identify with it even today. The text itself stat
es that what is not found in the Mahabharata, will not be found anywhere else. Unlike the Ramayana, India is littered with real places that have identifications with the Mahabharata. (Ayodhya or Lanka or Chitrakuta are identifications that are less certain.) Kurukshetra, Hastinapura, Indraprastha, Karnal, Mathura, Dvaraka, Gurgaon, Girivraja are real places: the list is endless. In all kinds of unlikely places, one comes across temples erected by the Pandavas when they were exiled to the forest. In some of these places, archaeological excavations have substantiated the stories. The war for regional supremacy in the Ganga–Yamuna belt is also a plausible one. The Vrishnis and the Shurasenas (the Yadavas) are isolated, they have no clear alliance (before the Pandavas) with the powerful Kurus. There is the powerful Magadha kingdom under Jarasandha and Jarasandha had made life difficult for the Yadavas. He chased them away from Mathura to Dvaraka. Shishupala of the Chedi kingdom doesn’t like Krishna and the Yadavas either. Through Kunti, Krishna has a matrimonial alliance with the Pandavas. Through Subhadra, the Yadavas have another matrimonial alliance with the Pandavas. Through another matrimonial alliance, the Pandavas obtain Drupada of Panchala as an ally. In the course of the royal sacrifice, Shishupala and Jarasandha are eliminated. Finally, there is yet another matrimonial alliance with Virata of the Matsya kingdom, through Abhimanyu. When the two sides face each other on the field of battle, they are more than evenly matched. Other than the Yadavas, the Pandavas have Panchala, Kashi, Magadha, Matsya and Chedi on their side. The Kouravas have Pragjyotisha, Anga, Kekaya, Sindhu, Avanti, Gandhara, Shalva, Bahlika and Kamboja as allies. At the end of the war, all these kings are slain and the entire geographical expanse comes under the control of the Pandavas and the Yadavas. Only Kripacharya, Ashvatthama and Kritavarma survive on the Kourava side.
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 (varnas) and four stages of life (ashramas). 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.
Mahabharata Vol. 2 (Penguin Translated Texts) Page 2
