Mahabharata volume 4, p.1

Mahabharata: Volume 4, page 1

 

Mahabharata: Volume 4
 



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Mahabharata: Volume 4


  The Mahabharata

  Volume 4

  (Sections 45 to 59)

  Translated by

  BIBEK DEBROY

  PENGUIN BOOKS

  Contents

  About the Translator

  Dedication

  Family tree

  Map of Bharatavarsha

  Introduction

  SECTION FORTY-FIVE

  VAIRATA PARVA

  Pandavas’ thirteenth year in disguise in King Virata’s kingdom

  SECTION FORTY-SIX

  KICHAKA-VADHA PARVA

  Kichaka lusts after Droupadi and is killed by Bhima

  SECTION FORTY-SEVEN

  GO-GRAHANA PARVA

  The Kouravas and Trigartas invade Matsya to rob Virata of his cattle but are defeated by the Pandavas

  SECTION FORTY-EIGHT

  VAIVAHIKA PARVA

  Arjuna and Subhadra’s son, Abhimanyu, is married to Virata’s daughter, Uttara

  SECTION FORTY-NINE

  UDYOGA PARVA

  The Kurus and the Pandavas send word to their allies; Duryodhana and Arjuna go to Krishna to seek help

  SECTION FIFTY

  SANJAYA-YANA PARVA

  Dhritarashtra sends Sanjaya as an emissary to the Pandavas; this mission does not succeed

  SECTION FIFTY-ONE

  PRAJAGARA PARVA

  Dhritarashtra cannot sleep at night because he is yet to know Yudhishthira’s message through Sanjaya

  SECTION FIFTY-TWO

  SANATSUJATA PARVA

  Sage Sanatsujata instructs Dhritarashtra

  SECTION FIFTY-THREE

  YANA-SANDHI PARVA

  Sanjaya conveys Arjuna’s message and there is a discussion in the assembly of the Kurus; Karna refuses to fight until Bhishma has fallen

  SECTION FIFTY-FOUR

  BHAGAVAT-YANA PARVA

  Krishna goes as a messenger to the Kurus; Krishna fails and war is inevitable

  SECTION FIFTY-FIVE

  KARNA-UPANIVADA PARVA

  Krishna and Kunti try to wean Karna away from the Kouravas, but fail

  SECTION FIFTY-SIX

  ABHINIRYANA PARVA

  The two sides, Kourava and Pandava, march out to Kurukshetra

  SECTION FIFTY-SEVEN

  BHISHMA-ABHISHECHANA PARVA

  Bhishma is consecrated as the commander-in-chief on the Kourava side

  SECTION FIFTY-EIGHT

  ULUKA-YANA PARVA

  Duryodhana sends Uluka as a messenger to the Pandavas

  SECTION FIFTY-NINE

  RATHA-ATIRATHA-SAMKHYA PARVA

  The charioteers and their strengths are enumerated

  Acknowledgements

  Copyright Page

  About the Translator

  Bibek Debroy is an economist and is Research Professor (Centre of Policy Research) and a columnist with Economic Times. He has worked in universities, research institutes, industry and for the government. He has published books, papers and popular articles in economics. But he has also published in Indology and translated (into English) the Vedas, the Puranas, the Upanishads and the Gita (Penguin India, 2005). His book Sarama and her Children: The Dog in Indian Myth (Penguin India, 2008) splices his interest in Hinduism with his love for dogs. He is currently translating the remaining volumes of the unabridged Mahabharata.

  PRAISE FOR VOLUMES 1, 2 AND 3

  ‘The modernization of language is visible, it’s easier on the mind, through expressions that are somewhat familiar. The detailing of the story is intact, the varying tempo maintained, with no deviations from the original. The short introduction reflects a brilliant mind. For those who passionately love the Mahabharata and want to explore it to its depths, Debroy’s translation offers great promise in the first volume.’

  —Hindustan Times

  ‘[Debroy] has really carved out a niche for himself in crafting and presenting a translation of the Mahabharata … The book takes us on a great journey with admirable ease.’

  —The Indian Express

  ‘The first thing that appeals to one is the simplicity with which Debroy has been able to express himself and infuse the right kind of meanings … Considering that Sanskrit is not the simplest of languages to translate a text from, Debroy exhibits his deep understanding and appreciation of the medium.’

  —The Hindu

  ‘Overwhelmingly impressive … Bibek is a truly eclectic scholar.’

  —Business Line

  ‘Debroy’s lucid and nuanced retelling of the original makes the masterpiece even more enjoyably accessible.’

  —Open

  ‘The quality of translation is excellent. The lucid language makes it a pleasure to read the various stories, digressions and parables.’

  —The Tribune

  ‘Extremely well-organized, and has a substantial and helpful Introduction, plot summaries and notes. The volume is a beautiful example of a well thought-out layout which makes for much easier reading.’

  —The Book Review

  ‘The dispassionate vision [Debroy] brings to this endeavour will surely earn him merit in the three worlds.’

  —Mail Today

  ‘This [second] volume, as voluminous as the first one, is expectedly as scholarly … Like the earlier volume, the whole book is an easy read.’

  —The Hindu

  ‘Debroy’s is not the only English translation available in the market, but where he scores and others fail is that his is the closest rendering of the original text in modern English without unduly complicating the readers’ understanding of the epic.’

  —Business Standard

  ‘The brilliance of Ved Vysya comes through [in Volume 3], ably translated by Bibek Debroy.’

  —Hindustan Times

  For Suparna

  Ardha bhāryā manuṣyasya bhāryā śreṣṭhatamaḥ sakhā

  Bhāryā mulam trivargasya bhāryā mitram mariṣyataḥ

  Mahabharata (1/68/40)

  Family Tree

  Bharata/Puru Lineage

  Map of Bharatavarsha

  Bharatavarsha (sixth century BCE)

  Introduction

  The Hindu tradition has an amazingly large corpus of religious texts, spanning Vedas, Vedanta (brahmanas,1 aranyakas,2 Upanishads,), Vedangas,3 smritis, Puranas, dharmashastras and itihasa. For most of these texts, especially if one excludes classical Sanskrit literature, we don’t quite know when they were composed and by whom, not that one is looking for single authors. Some of the minor Puranas (Upa Purana) are of later vintage. For instance, the Bhavishya Purana (which is often listed as a major Purana or Maha Purana) mentions Queen Victoria.

  In the listing of the corpus above figures itihasa, translated into English as history. History doesn’t entirely capture the nuance of itihasa, which is better translated as ‘this is indeed what happened’. Itihasa isn’t myth or fiction. It is a chronicle of what happened; it is fact. Or so runs the belief. And itihasa consists of India’s two major epics, the Ramayana and the Mahabharata. The former is believed to have been composed as poetry and the latter as prose. This isn’t quite correct. The Ramayana has segments in prose and the Mahabharata has segments in poetry. Itihasa doesn’t quite belong to the category of religious texts in a way that the Vedas and Vedanta are religious. However, the dividing line between what is religious and what is not is fuzzy. After all, itihasa is also about attaining the objectives of dharma,4 artha,5 kama6 and moksha7 and the Mahabharata includes Hinduism’s most important spiritual text—the Bhagavad Gita.

  The epics are not part of the shruti tradition. That tradition is like revelation, without any composer. The epics are part of the smriti tradition. At the time they were composed, there was no question of texts being written down. They were reci
ted, heard, memorized and passed down through the generations. But the smriti tradition had composers. The Ramayana was composed by Valmiki, regarded as the first poet or kavi. The word kavi has a secondary meaning as poet or rhymer. The primary meaning of kavi is someone who is wise. And in that sense, the composer of the Mahabharata was no less wise. This was Vedavyasa or Vyasadeva. He was so named because he classified (vyasa) the Vedas. Vedavyasa or Vyasadeva isn’t a proper name. It is a title. Once in a while, in accordance with the needs of the era, the Vedas need to be classified. Each such person obtains the title and there have been twenty-eight Vyasadevas so far.

  At one level, the question about who composed the Mahabharata is pointless. According to popular belief and according to what the Mahabharata itself states, it was composed by Krishna Dvaipayana Vedavyasa (Vyasadeva). But the text was not composed and cast in stone at a single point in time. Multiple authors kept adding layers and embellishing it. Sections just kept getting added and it is no one’s suggestion that Krishna Dvaipayana Vedavyasa composed the text of the Mahabharata as it stands today.

  Consequently, the Mahabharata is far more unstructured than the Ramayana. The major sections of the Ramayana are known as kandas and one meaning of the word kanda is the stem or trunk of a tree, suggesting solidity. The major sections of the Mahabharata are known as parvas and while one meaning of the word parva is limb or member or joint, in its nuance there is greater fluidity in the word parva than in kanda.

  The Vyasadeva we are concerned with had a proper name of Krishna Dvaipayana. He was born on an island (dvipa). That explains the Dvaipayana part of the name. He was dark. That explains the Krishna part of the name. (It wasn’t only the incarnation of Vishnu who had the name of Krishna.) Krishna Dvaipayana Vedavyasa was also related to the protagonists of the Mahabharata story. To go back to the origins, the Ramayana is about the solar dynasty, while the Mahabharata is about the lunar dynasty. As is to be expected, the lunar dynasty begins with Soma (the moon) and goes down through Pururava (who married the famous apsara Urvashi), Nahusha and Yayati. Yayati became old, but wasn’t ready to give up the pleasures of life. He asked his sons to temporarily loan him their youth. All but one refused. The ones who refused were cursed that they would never be kings, and this includes the Yadavas (descended from Yadu). The one who agreed was Puru and the lunar dynasty continued through him. Puru’s son Duhshanta was made famous by Kalidasa in the Duhshanta–Shakuntala story and their son was Bharata, contributing to the name of Bharatavarsha. Bharata’s grandson was Kuru. We often tend to think of the Kouravas as the evil protagonists in the Mahabharata story and the Pandavas as the good protagonists. Since Kuru was a common ancestor, the appellation Kourava applies equally to Yudhishthira and his brothers and Duryodhana and his brothers. Kuru’s grandson was Shantanu. Through Satyavati, Shantanu fathered Chitrangada and Vichitravirya. However, the sage Parashara had already fathered Krishna Dvaipayana through Satyavati. And Shantanu had already fathered Bhishma through Ganga. Dhritarasthra and Pandu were fathered on Vichitravirya’s wives by Krishna Dvaipayana.

  The story of the epic is also about these antecedents and consequents. The core Mahabharata story is known to every Indian and is normally understood as a dispute between the Kouravas (descended from Dhritarashtra) and the Pandavas (descended from Pandu). However, this is a distilled version, which really begins with Shantanu. The non-distilled version takes us to the roots of the genealogical tree and at several points along this tree we confront a problem with impotence/sterility/death, resulting in offspring through a surrogate father. Such sons were accepted in that day and age. Nor was this a lunar dynasty problem alone. In the Ramayana, Dasharatha of the solar dynasty also had an infertility problem, corrected through a sacrifice. To return to the genealogical tree, the Pandavas won the Kurukshetra war. However, their five sons through Droupadi were killed. So was Bhima’s son Ghatotkacha, fathered on Hidimba. As was Arjuna’s son Abhimanyu, fathered on Subhadra. Abhimanyu’s son Parikshit inherited the throne in Hastinapura, but was killed by a serpent. Parikshit’s son was Janamejaya.

  Krishna Dvaipayana Vedavyasa’s powers of composition were remarkable. Having classified the Vedas, he composed the Mahabharata in 100,000 shlokas or couplets. Today’s Mahabharata text doesn’t have that many shlokas, even if the Hari Vamsha (regarded as the epilogue to the Mahabharata) is included. One reaches around 90,000 shlokas. That too, is a gigantic number. (The Mahabharata is almost four times the size of the Ramayana and is longer than any other epic anywhere in the world.) For a count of 90,000 Sanskrit shlokas, we are talking about something in the neighbourhood of two million words. The text of the Mahabharata tells us that Krishna Dvaipayana finished this composition in three years. This doesn’t necessarily mean that he composed 90,000 shlokas. The text also tells us that there are three versions to the Mahabharata. The original version was called Jaya and had 8,800 shlokas. This was expanded to 24,000 shlokas and called Bharata. Finally, it was expanded to 90,000 (or 100,000) shlokas and called Mahabharata.

  Krishna Dvaipayana didn’t rest even after that. He composed the eighteen Maha Puranas, adding another 400,000 shlokas. Having composed the Mahabharata, he taught it to his disciple Vaishampayana. When Parikshit was killed by a serpent, Janamejaya organized a snake-sacrifice to destroy the serpents. With all the sages assembled there, Vaishampayana turned up and the assembled sages wanted to know the story of the Mahabharata, as composed by Krishna Dvaipayana. Janamejaya also wanted to know why Parikshit had been killed by the serpent. That’s the background against which the epic is recited. However, there is another round of recounting too. Much later, the sages assembled for a sacrifice in Naimisharanya and asked Lomaharshana (alternatively, Romaharshana) to recite what he had heard at Janamejaya’s snake-sacrifice. Lomaharshana was a suta, the sutas being charioteers and bards or raconteurs. As the son of a suta, Lomaharshana is also referred to as Souti. But Souti or Lomaharshana aren’t quite his proper names. His proper name is Ugrashrava. Souti refers to his birth. He owes the name Lomaharshana to the fact that the body-hair (loma or roma) stood up (harshana) on hearing his tales. Within the text therefore, two people are telling the tale. Sometimes it is Vaishampayana and sometimes it is Lomaharshana. Incidentally, the stories of the Puranas are recounted by Lomaharshana, without Vaishampayana intruding. Having composed the Puranas, Krishna Dvaipayana taught them to his disciple Lomaharshana. For what it is worth, there are scholars who have used statistical tests to try and identify the multiple authors of the Mahabharata.

  As we are certain there were multiple authors rather than a single one, the question of when the Mahabharata was composed is somewhat pointless. It wasn’t composed on a single date. It was composed over a span of more than 1000 years, perhaps between 800 BCE and 400 ACE. It is impossible to be more accurate than that. There is a difference between dating the composition and dating the incidents, such as the date of the Kurukshetra war. Dating the incidents is both subjective and controversial and irrelevant for the purposes of this translation. A timeline of 1000 years isn’t short. But even then, the size of the corpus is nothing short of amazing.

  Familiarity with Sanskrit is dying out. The first decades of the twenty-first century are quite unlike the first decades of the twentieth. Lamentation over what is inevitable serves no purpose. English is increasingly becoming the global language, courtesy colonies (North America, South Asia, East Asia, Australia, New Zealand, Africa) rather than the former colonizer. If familiarity with the corpus is not to die out, it needs to be accessible in English.

  There are many different versions or recensions of the Mahabharata. However, between 1919 and 1966, the Bhandarkar Oriental Research Institute (BORI) in Pune produced what has come to be known as the critical edition. This is an authenticated text produced by a board of scholars and seeks to eliminate later interpolations, unifying the text across the various regional versions. This is the text followed in this translation. One should also mention that the critical edition’s text is no
t invariably smooth. Sometimes, the transition from one shloka to another is abrupt, because the intervening shloka has been weeded out. With the intervening shloka included, a non-critical version of the text sometimes makes better sense. On a few occasions, I have had the temerity to point this out in the notes which I have included in my translation.

  It took a long time for this critical edition to be put together. The exercise began in 1919. Without the Hari Vamsha, the complete critical edition became available in 1966. And with the Hari Vamsha, the complete critical edition became available in 1970. Before this, there were regional variations in the text and the main versions were available from Bengal, Bombay and the south. However, now, one should stick to the critical edition, though there are occasional instances where there are reasons for dissatisfaction with what the scholars of the Bhandarkar Oriental Research Institute have accomplished. But in all fairness, there are two published versions of the critical edition. The first one has the bare bones of the critical edition’s text. The second has all the regional versions collated, with copious notes. The former is for the ordinary reader, assuming he/she knows Sanskrit. And the latter is for the scholar. Consequently, some popular beliefs no longer find a place in the critical edition’s text. For example, it is believed that Vedavyasa dictated the text to Ganesha, who wrote it down. But Ganesha had a condition before accepting. Vedavyasa would have to dictate continuously, without stopping. Vedavyasa threw in a counter-condition. Ganesha would have to understand each couplet before he wrote it down. To flummox Ganesha and give himself time to think, Vedavyasa threw in some cryptic verses. This attractive anecdote has been excised from the critical edition’s text. Barring material that is completely religious (specific hymns or the Bhagavad Gita), the Sanskrit text is reasonably easy to understand. Oddly, I have had the most difficulty with things that Vidura has sometimes said. Arya has today come to connote ethnicity. Originally, it meant language. That is, those who spoke Sanskrit were Aryas. Those who did not speak Sanskrit were mlecchas. Vidura is supposed to have been skilled in the mlechha language. Is that the reason why some of Vidura’s statements seem obscure? In similar vein, in popular renderings, when Droupadi is being disrobed, she prays to Krishna. Krishna provides the never-ending stream of garments that stump Duhshasana. The critical edition has excised the prayer to Krishna. The never-ending stream of garments is given as an extraordinary event. However, there is no intervention from Krishna.

 
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