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Pradip Bhattacharya

Indologist, Mahabharata scholar

  • BOOKS
    • MAHABHARATA
      • The Mahabharata of Vyasa – Moksha Dharma Parva
      • The Jaiminiya Mahabharata
      • The Jaiminiya Ashvamedhaparva
      • The Secret of the Mahabharata
      • Themes & Structure in the Mahabharata
      • The Mahabharata TV film Script: A Long Critique
      • YAJNASENI: The Story Of Draupadi
      • Pancha Kanya: the five virgins of India’s Epics
      • Revisiting the Panchakanyas
      • Narrative Art in the Mahabharata—the Adi Parva
      • Prachin Bharatey ebong Mahabharatey Netritva O Kshamatar Byabahar
    • LITERATURE
      • Ruskin’s Unto This Last: A Critical Edition
      • TS Eliot – The Sacred Wood, A Dissertation
      • Bankimchandra Chatterjee’s Krishna Charitra
      • Shivaji Sawant’s Mrityunjaya: A Long Critique
      • Subodh Ghosh’s Bharat Prem Katha
      • Parashuram’s Puranic Tales for Cynical People
    • PUBLIC ADMINISTRATION & MANAGEMENT
      • Leadership & Power: Ethical Explorations
      • Human Values: The Tagorean Panorama
      • Edited Administrative Training Institute Monographs 1-20. Kolkata. 2005-9
      • Edited Samsad Series on Public Administration. Kolkata, 2007-8
    • COMICS
      • KARTTIKEYA
      • The Monkey Prince
    • HOMEOPATHY
      • A New Approach to Homoeopathic Treatment
  • BOOK REVIEWS
    • Reviews in The Statesman
      • Review : Rajesh M. Iyer: Evading the Shadows
      • Review : Bibek DebRoy: The Mahabharata, volume 7
      • Review :The Harivansha – The Significance of a Neglected Text
      • Review : Battle, Bards and Brahmins ed. John Brockington
      • Review : Heroic Krishna. Friendship in epic Mahabharata
      • Review : I Was Born for Valour, I Was Born to Achieve Glory
      • Review : The Complete Virata and Udyoga Parvas of the Mahabharata
      • Review : Revolutionizing Ancient History: The Case of Israel and Christianity
    • Reviews in BIBLIO
    • Reviews in INDIAN REVIEW OF BOOKS And THE BOOK REVIEW New Delhi
    • Reviews in INDIAN BOOK CHRONICLE (MONTHLY JOURNAL ABOUT BOOKS AND COMMUNICATION ARTS)
  • JOURNALS
    • MANUSHI
    • MOTHER INDIA
    • JOURNAL OF HUMAN VALUES
    • WEST BENGAL
    • BHANDAAR
    • THE ADMINSTRATOR
    • INDIAN RAILWAYS MAGAZINE
    • WORLD HEALTH FORUM, WORLD HEALTH ORGANIZATION, GENEVA
    • INDIA INTERNATIONAL CENTRE QUARTERLY
    • ACTUALITIES EN ANALYSE TRANSACTIONNELLE
    • THE HERITAGE
    • TASI DARSHAN
  • STORIES, ESSAYS & POSTS
    • Chakravyuha by Manoranjan Bhattacharya
    • The Head Clerk. A short story.
    • BANGLADESH NEW-BORN: A MEMOIR
  • GALLERY
  • PROFILE
    • About the Author
    • IN THE NEWS
      • Epic discovery: City scholars find lost Mahabharata in Chennai library – The Times of India (Kolkata)

P. Lal

Rajadharma: The Rules of Governance

May 28, 2024 By admin

P. Lal: The Mahabharata of Vyasa, Book XII, the Complete Shanti Parva Part 1 (“Raja-Dharma”), pp.1011, Rs.2000 (hardback), Rs. 1500 (flexiback), Writers Workshop, Calcutta.

The last part of the great epic of Bharata that Professor Lal, Padma Shri and Jawaharlal Nehru Fellow, succeeded in completing is now published. Devoted to the principles of governance (raja-dharma), it appears at a time most opportune when all principles have been cast to the winds and the polity of India is falling to pieces. Kiran Bedi’s tweet of 10th June 2012 on “Coalgate” shows how alive India’s great epic still is in our consciousness after millennia: “PMO clears Prime Minister. Did Dhritarashtra in Mahabharata not support Kauravas even after they attempted to disrobe Draupadi? Indian genes/culture? Or?” Soon after the Gujarat riots, Prime Minister Vajpayee’s only response to the public outrage had been to urge chief minister Modi to be mindful of “raja-dharma”. Unfortunately, today neither the legislature nor the executive is aware of what this phrase means. The availability of this transcreation should bridge that hiatus.

The holocaust of Kurukshetra is over; eighteen armies have been decimated. The cosmic design to rid over-burdened Prithivi of power-hungry warriors has been accomplished. Surely, for Yudhishthira, son of Dharma and the righteous king (Dharma-Raja), it is a time to celebrate the fulfillment of his mother Kunti’s dream to see her sons win back their inheritance. Instead, he is tormented by loss and guilt, confessing to the celestial sage Narada,

“motivated by greed
I committed this maha-murder
of my kith and kin…
what is it but defeat…?”

So, the chink in his armour of righteousness is the passion that has doomed the lunar dynasty down the ages: greed. He is particularly anguished over the killing of Karna, who knew he was the eldest Kaunteya while fighting his brothers who did not. We learn that his anger against Karna would dissipate when he looked at his feet which strangely resembled Kunti’s. What an inimitable Vyasan vignette! Hence Yudhishthira’s curse that women will never be able to keep a secret. Narada informs him of a great secret: it was in order to engender the war that “a friction-fostering foetus/was placed in a virgin womb”. So Karna’s role from the very beginning was that of the resentful bastard, like Edmund in King Lear, backing up Duryodhana against the Pandavas. Narada narrates key incidents in Karna’s life bringing out the multiple handicaps he suffered: disowned at birth, cursed by Parashurama and a Brahmin, the boon he gave Kunti, his gift of the armour and earrings that made him invulnerable, being branded half-a-chariot-hero by Bhishma, constant belittling by Shalya, Krishna ensuring that Arjuna never faced a fresh Karna. Narada mentions Karna defeated Jarasandha who gifted him Champa town in Anga which begs a question: if he were truly king of Anga, as Duryodhana had crowned him, how could Champa be Jarasandha’s to gift? We always find Karna in Hastinapura, never ruling in Anga. Was the investiture merely symbolic?

We find here interesting revelations regarding the society of those times. For instance, what was the status of atheism? Charvaka (after whom the doctrine of atheism is named) takes advantage of Yudhishthira’s guilt to berate him publicly. The Brahmins kill him, branding him a demon and friend of Duryodhana disguised as a mendicant. Again, Narada informs that king Rantideva killed over 20,000 cows to feed guests. So, the Vedic practise of slaughtering a cow for a special guest (who was therefore called “goghna”) continued into epic society. Vyasa tells that Uddalaka’s famous son Shvetaketu was actually begotten by a disciple on his wife on his guru’s orders. Uddalaka later renounced his son for having lied to Brahmins. Yajnas (sacrifices) are prescribed as essential for all four classes with the saving that the Shudra will not chant mantras. The three other classes are responsible for maintaining the Shudra. A Brahmin of ill character is equivalent to a Shudra and should be ostracized. It is one’s karma that makes dharma. The ruler must have a group of ministers taken from all sections of society: 4 Brahmins, 8 Kshatriyas, 21 Vaishyas, 3 Shudras, 1 bard expert in Puranas. Their qualifications are given in detail. Of them the ruler has a cabinet of eight, whose decisions must be announced to the public. Section 108 contains the famous verses, extolling them as the highest teaching:

“One’s father excels ten teachers, one’s mother surpasses ten fathers, indeed surpasses the world itself. There is no guru anywhere to equal a mother…you will gain this world by serving your father, the next world by serving your mother properly, and the world of Brahma by serving your guru…When a legitimate adult son fails to support his father and mother, his crime equals that of killing a foetus—that which is no greater wickedness.”

There is an uncompromising condemnation of those who discarding the three Vedas, their professions and families, don saffron robes and go begging with a three-pronged staff:

“but they are tied to the world,
because to them
begging is a profession…
Pure selfishness.
These shaven dunderheads,
flaunting the flag of dharma,
are hypocrites.”

It is also admitted that “the shastras are full of contradictions”, and that “The Vedas do not cover everything” (Section 109). Ascesis, tapasya, is extolled above sacrifices and it is clarified that this does not mean mortifying the flesh but is non-violence, truthfulness, self-control, compassion. Incidentally, there is never any mention of the Vedas as numbering more than three, which shows that the Atharva Veda was a post-Mahabharata composition. We are also told that originally the three Vedas were one. It is Vyasa who arranged them under separate names, as he did with the original Purana.

As with the secret cause of Karna’s birth, another fascinating sidelight comes in the tale of demon Damsha that takes forward the rape of Bhrigu’s wife Puloman related in the Adi Parva. We learn that the rapist was cursed by Bhrigu to be reborn as a vicious insect, and in that form he bored through Karna’s thigh, resulting in Parashurama’s curse.

To dissuade Yudhishthira from becoming a sannyasi, by turn arguments are presented by the brothers and Draupadi extolling earning of wealth (artha), the householder’s life, desire (kama) and punishment and justice (danda) as the principle preserving a polity. In the process, they even call Yudhishthira a fool! To console Yudhishthira for the loss of his progeny, Krishna narrates the account of 16 past kings of far greater stature who all died. This account, occurring also in the Drona Parva, is similar to the Old English “Deor’s Lament” in intention.

Once Yudhishthira has reconciled to kingship, Krishna sends him to Bhishma, lying on his bed of arrows, for instruction on governance, for with his death “you will see the setting of all knowledge.” Bhishma begins with a paean to Krishna in which he mentions the ten avatars, interestingly saluting Balarama as “the soul of Bhoga, enjoyment” and Krishna as “the soul of sport”, and mentioning Buddha as disciplining the anti-gods. The crucial importance of the ruler is repeatedly stressed:

“First find a raja.
Then get a wife.
Then wealth…
Without a raja
Your wife and wealth,
What good are they?”

The ruler’s cardinal duty is to ensure his subjects’ welfare first and last. Unless he conquers his own senses, he cannot conquer his foes. It is because he delights (ranjita) them that he is called “raja” and all dharmas depend on him. It is the ruler who shapes the nature of the age—Krita, Treta, Dvapara or Kali.

Much of what we know later as the Arthashastra is given here. Originally it was called “Danda-niti”, the principles of punishment. Composed of one lakh sections by Brahma, it was condensed by Shiva under the name “Vishalaksha” in ten thousand sections which Indra abridged in five thousand calling it “Bahudantaka”. Brihaspati reduced it to three thousand and that was further edited to one thousand sections by Shukra because of the decreasing life-span of humans.

Beginning with quotations from past savants and 8 stories on the origin and duties of the ruler, Bhishma narrates 19 tales on the core issues of ruling (repeatedly stressing impersonal administration of punishment, careful selection of advisers through fivefold tests and not trusting anyone completely), following up with 8 on what is to be done in extremity, and ending with 9 on expiating sins and the results of harming friends. The methodology adopted is Upanishadic question-and-answer between pupil and teacher. These make up the 173 sections of this tome in which sections 98 to 173 are in prose—the longest prose section in Vyasa’s narrative.

Vyasa narrates to Yudhishthira the “Ashma Gita” narrated to Janaka by the sage Ashma where the root causes of mental anguish are specified as either confused thinking or unexpected calamity, with attachment to material things as a related cause. We also find here the philosophy that is repeated in the Upanishads by Yajnavalkya:

“No one is anyone’s, no one
belongs to anyone but oneself.
Wife, and relative,
And friend—
All travelers, all passers-by
On the road of life…
Whoever you love, will leave you.”

Vyasa also repeats insights from the Gita regarding Time being the real slayer of the armies, and that

“Times are when dharma
starts looking like adharma,
and adharma like dharma.…
In special cases,
even stealing, lying and killing
can be dharma.”

As a telling example, the story of Vishvamitra justifying stealing dog-meat from an untouchable is told: “What is important is to stay alive” because only then can dharma be practiced! If problems arise regarding dharma, a committee of ten experts in the scriptures is to resolve them, or three teachers of dharma.

Vyasa declares that since Yudhishthira got involved in fratricide because of the wicked deeds of others, he is not at fault. There is no sin in killing even gurus who flout their calling because of greed (as with Drona). He advises Yudhishthira to enthrone the surviving kin of the rulers, including daughters if there are no sons, showing compassion to establish peace in the land. This is where the famous verse on when it is permissible to lie occurs which is repeated at least thrice in this parva: to save one’s life or another’s; for one’s guru’s sake; to win over a woman; to arrange a marriage. “Women, diamond and rain-water—these three are always pure.” Even an unfaithful woman becomes pure after her period.

From the standpoint of narrative art, a fresh frame has been introduced in this parva. The Mahabharata’s outermost frame is Sauti narrating it to Shaunaka and his sages in the forest of Naimisha. The next layer is the snake-sacrifice in Takshashila during which Vaishampayana narrates the epic to king Janamejaya in the presence of the author Vyasa, which is what Sauti heard. Now we have a series of concentric layers where several narrators tell Yudhishthira stories, of which the largest is Bhishma’s portion. Nested within Bhishma’s layer are so many tales, and tales-within-tales! The entire narrative structure reminds us of a Chinese Box or a Matroyshka.

Among these akhyanas (tales) are some that stand out. Such a one is Janaka’s queen quite unexpectedly berating him for wishing to abdicate, much as Draupadi does Yudhishthira. Others are animal fables that recur in Panchatantra.

Possibly the most fascinating of Bhishma’s many accounts is the conversation Krishna has with Narada. It is the only passage giving vent to the frustration Krishna experiences—something none of us would imagine, and which remains unknown to most of us who have not read the Shanti Parva fully. The mellifluous free verse transcreation communicates the emotions beautifully. Balarama, Gada, Pradyumna—all are engrossed with themselves, none helps Krishna. Among his quarrelling clansmen he is,

“like a mother of two gamblers:
I want one side to win
I do not want the other to lose.
And the result is that
I am at the receiving end of both.”

The bitter words of relatives “stir fire in my heart.” Narada, after pointing out that this is his own doing because they are all his own relatives, tells him of a weapon “not made of iron, a gentle but heart-piercing weapon” to wash clean their bitter tongues. Those of us who are interested can read section 81 to find out what it is.

The genocide of the warrior-class perpetrated by Parashurama is a significant story Bhishma tells to explain how the “kshatriya varna” had to be restored by Brahmins to protect the polity. The divine right of kings is not just a European and far-Eastern concept. Bhishma equates the ruler with the preserver Vishnu, explaining the sacred nature of his duties. The ruler is the god of fire when he scorches liars; the sun-god when he observes the people and ensures welfare; death when he kills criminals; Yama the judge when he punishes and rewards; the god of wealth Vaishravana when he collects taxes and remunerates. Bhishma also tells the tale of Vena to show that an unrighteous ruler is even killed or removed by the people. There is more than enough guidance available here for our own times—provided we are interested!

A bonus for the reader is the superlative introduction provided by the transcreator, packing into just two pages an amazing amount of profound insight, bringing home to 21st century society the lessons of the ancient past that never cease to be relevant. “Artha”, wealth, is indeed a basic goal of life, but it is not money but the meaning of money—trusteeship—that makes it worthwhile. Without benefiting others, how do I benefit myself? “Kama”, desire or pleasure is an essential ingredient of life, but what is important is to transform lust into love: “both are four-letter words; it’s our disciplined choice that changes one into the other.” Dharma is not just ritualistic religion but spiritual vision where differences of creed vanish. “Moksha” is not only escape from life, but transforming that into liberation for humanity at large. What a world of meaning has been concentrated into these few printed words!

At the end are detailed reviews of the Shalya Parva transcreation and the set of ten DVDs of readings by Prof. Lal from the Adi Parva telecast on Tara TV. Prof. Lal’s rebuttal of Dr. Amartya Sen’s misconception regarding what Krishna says in the Gita is also printed. This volume leaves the discourse on Moksha and the Anushasana Parva untranslated.

Thus ends the massive enterprise a single poet and transcreator of remarkable genius embarked upon in 1968, making transcreating Vyasa the major work of his life, having also covered, before his departure, the lovely ninth and tenth books of the Bhagavata Purana.

Filed Under: BOOK REVIEWS, IN THE NEWS, MAHABHARATA Tagged With: P. Lal, Shanti Parva

The Doomsday Epic Condensed

August 7, 2018 By admin

The Condensed Mahabharata of Vyasa by P. Lal, First published 1980, 3rd edn 2010 (Revised and Corrected) Price: HB Rs 600, FB Rs 400

We have in hand a gorgeously produced reprint of the 1980 Vikas edition of Padma Shri Dr. P.Lal’s condensed transcreation of Vyasa’s epic. R.C. Dutt, the first ‘condenser’ of the Mahabharata’s one lakh shlokas, chose to spare the Western reader the “unending morass’ and “monstrous chaos” of episodical matter by leaving out whatever he felt to be super-incumbent.

The result was a Tennysonian Vyasa rhythmically relating in Locksley-Hall metre his knightly tale of barons at war in two thousand English couplets.  

In the process Dutt sacrificed much that is integral to the Vyasan ethos: most of the Book of Beginnings and the Book of the Forest, and all of the Club, the Great Departure and the Ascent to Heaven books.

Here Prof. Lal has condensed the hard-core narrative of the Pandava-Dhartarashtran conflict, around which a vast collection of myths, legends, folklore, philosophy and homilies was woven to make up the great epic of Bharata. A complementary project, Mahabharata Katha, is underway, the first of which, The Ramayana in the Mahabharata, is out. Successive volumes will make available to the English-speaking world those peripheral episodes which are, nevertheless, integral parts of the Vyasan universe articulating leitmotifs that run as unifying themes linking the apparently chaotic medley of episodes.

To the modern reader who has neither the time, nor perhaps the inclination, to seek out the iridescent Ariadne’s thread to follow through the epic labyrinth, the Lalian approach is richly rewarding. Besides a valuable 67 page introduction, a family tree, a map showing India at the time of the Mahabharata, an annotated bibliography and an index to proper names, his condensation differs markedly from those of Dutt, Rajagopalachari, R.K. Narayan, Kamala Subramanyam, Meera Uberoi and Ramesh Menon in that he neither re-tells nor adds. Dr. Lal is the only condenser who also transcreates, giving the story ‘always in Vyasa’s own words, without simplifying, interpreting, or elaborating’ preferred Vyasan dialogue to straight narration and report.’

It is not his intention to narrate merely the essential story of the fratricidal war but also to communicate the ‘feel’ of the epic; that ineffable flavour which transforms a sordid account of a bloody clan-war into the Mahabharata. With this end in view, he incorporates a number of incidents which do not appear, at first glance, to have any link with the central story, e.g. the Arjunaka-serpent-Gautami episode in the 13th Book, the memorable parable of the Drop of Honey related by Vidura to Dhritarashtra in Book 11, and the repeated exhortation regarding ahimsa in this violent epic – so violent that, traditionally, it is prohibited reading for nubile women.

It is to correct the general impression that the Mahabharata is off limits to women that Kavita Sharma, principal of Hindu College, Delhi, has written her study of the royal epic women, pairing Satyavati and Amba (though the parallels are far more between the former and her grand daughter-in-law Kunti and between the latter and her daughter-in-law Draupadi), Gandhari and Kunti, Draupadi by herself and Arjuna’s wives whom she groups as ‘warrior queens’. In the last group her coverage of Alli, Pavazhakkodi, Minnoliyal and Pulandaran from the Tamil ballads is extremely valuable. One wishes that she had included the insights provided by Bhasa and Bhatta Narayana.

There are some glaring errors such as ‘Rishi Gavala’ instead of ‘Galava’ (p.4) and Vibhruvahana instead of ‘Babhruvahana’ (p.113). While discussing Draupadi, she fails to note (despite listing Hiltebeitel’s research on Rajasthani ballads in the bibliography) how the popular imagination reincarnated her in medieval times as Bela in the Alha. Puzzled by Draupadi’s silence when married off to five husbands, she proffers haphazard explanations, completely missing out that her appearance Kritya-like during a sacrifice is followed by a declaration that she will be the agent of the gods for the destruction of the warrior clans and she is called a puppet, ‘Panchali’ (her behaviour often suits that appellative). Her marriage to Yudhishthira, son of Yama-Dharma is ominously appropriate. She is the mysterious femme fatale who inveigles five Indras into being sentenced by Shiva to be reborn as the Pandavas with her as their wife to ensure that the intended holocaust occurs. The course of the epic is determined by the dark four and Kunti: Kali-Satyavati, Krishna Dvaipayana Vyasa, Vasudeva Krishna, Draupadi-Krishnaa, and Kunti. While Yamuna’s black waters link the first three, Satyavati, Kunti and Draupadi are prototypes of one another.

Superficial study of the epic is indicated when Sharma recounts Krishna saving Draupadi from being stripped where Vyasa refers to Dharma (another name for Vidura) having clothed her, the passage regarding Krishna being an interpolation consigned to an appendix in the Critical Edition.

While summarising Draupadi’s advice to Satyabhama, Sharma diligently lists all the chores of the dutiful wife, failing to note two interesting points: the complete account of income and expenditure of her husbands was in her grasp and she alone knew the extent of their wealth; she kept track of what each of the many maids attending on Yudhishthira was doing; and she took particular care never to surpass her mother-in-law in ornaments, dress and even the food taken, besides avoiding all criticism of Kunti (III.233. 38, 41).

Surprisingly, Sharma does not notice how skillfully Draupadi uses her charms to get her way time and again, particularly with Bhima and Krishna.

While her book is a sorely needed corrective and provides a popular overview of the role women play in the epic, it would have benefited considerably by reference to Sr. M.A. Hughes’ study, Epic Women: East and West (Journal of the Asiatic Society), Saoli Mitra’s Nathavati Anathavat and Katha Amrita Saman, Chitra Chaturvedi’s Mahabharat, Tanaya and Amba nahin mein Bhishmaa, the 2003 national conference on Pancha Kanya – the five virgins of India’s Epics and the 2005 MANUSHI-ICCR international panel on it in New Delhi. The bibliography contains references that have nothing to do with the subject (E.A.Johnson, Sheetan) and though dated 2006, is innocent of the most important work on the epic, Hiltebeitel’s 2001 ‘Rethinking the Mahabharata’.

The Lal condensation is distinguished by the inimitable choice of passages from the original which no other abridgement has incorporated. Thus, in the beginning of Book 12 is Yudhishthira’s lament over Karna’s death:

‘Even when Karna spoke harshly to us in the palace assembly room, my anger cooled when my eyes fell by chance on his feet. They were our mother Kunti’s feet’ And he goes on to utter words that sum up the existential angst at the root of the epic: ‘We have squabbled like a pack of dogs over a piece of meat, and we have won – and the meat has lost its savour. The meat is thrown aside, the dogs have forgotten it.’

This is precisely what the epic is about – or, at least, one of the many things it is about. This theme of a pyrrhic victory, in which the victors ‘instead of gust chew bitter ashes,’ is stressed again and again in passages omitted in other condensations: ‘Enjoy the barren world – it is now yours’, says Duryodhana at bay, bear-like at the stake surrounded by snarling, slavering Pandavas. ‘You have a world to yourself, a world without friends, horses, chariots, elephants, forts. Enjoy her.’

Yudhishthira shouts, ‘You rave like a madman’ – a desperate attempt to drown the grinning skull and the rattle of bones in lung-power. But truth will out, and it comes at the very end in Yudhishthira’s apocalyptic vision of his kinsmen in hell while his enemies loll on celestial couches.

This is the climactic episode of the theme stated un-compromisingly just before the holocaust begins when Arjuna states blandly that the war is being fought neither for avenging Draupadi, nor for ‘dharma’, but for an extremely mundane and selfish objective: land.

If, then, the epic is such a sordid affair, what lends it memorability and relevance today? It is those situations where characters are shorn of all their trappings and face the ultimate test, forced to play chess with death. Such is the dramatic moment when time stands still as Yudhishthira answers the Yaksha of the lake over the corpses of his brothers. Such is the incident where Yudhishthira, again, replies to his ancestor Nahusha crushing the invincible Bhima in his adamantine coils. Such, yet again, is that tremendous scene where Yudhishthira faces Indra and refuses to give up his canine companion for heaven.

Then there are those other intensely human episodes true for all time: the confrontation between Kunti begging Karna to join her other sons; Draupadi putting the entire peerage to shame with an unanswerable question; Draupadi’s upalambha to Bhima after Kichaka has kicked her; Arjuna facing his brothers finding Abhimanyu slain; Amba, rejected by Salva, facing Bhishma. It is woman and man in all their passionate intensity – all the blood, toil and tears that makes up this short and brutish life. And yet it is man who questions the Divine, wrestling with him, as Arjuna with Shiva physically, or intellectually as Arjuna with Krishna, till God has replies to logic with magic to stun him into submission, as Jehovah to Job out of the whirlwind. It is all this which lends this sometime-ballad of the Bharata clan its epic dimensions and eternal appeal.

The selection of incidents from the original for inclusion in this condensation is itself a feature which distinguishes it from other condensations. The choice is carefully guided by Dr. Lal’s overview of recurring themes or patterns. Take, for instance, the Gita itself, which is missing from most of the other abridgements. Lal carefully incorporates a dialogue between Draupadi and Yudhishthira in the forest which looks forward to the philosophy of nishkama karma and of following one’s dharma.

This is a passage providing rare insights into the respective speakers which readers of other condensations have missed.

The episode of the sage Brihadashva’s visit to the exiled princes appears unnecessary but on closer examination the links with the plot become clear. This sage imparts to Yudhishthira mastery in casting the dice, which is of crucial importance for maintaining his disguise in Virata’s court. It is also skillfully placed immediately after Urvashi cursing Arjuna with eunuch-hood, another boon for the period of ‘exile-in-disguise’. A valuable inclusion is Karna’s retelling of a dream to Krishna which all other condensers miss, completely in consonance with Prof. Lal’s awareness of the underlying theme of pyrrhic victory: ‘I saw you (Krishna) in that dream, busy scattering weapons of war on the blood-red earth. Then I saw Yudhishthira standing on a heap of bones, gladly licking thick sweet curd from a golden plate’.

A remarkable quality of the Lal condensation is the effortless shifting from prose to verse according to the demands of the original. The use of verse in describing Hidimba’s honeymoon, the Pandavas’ stay in the Dvaita forest, Bhima’s obtaining the golden lotus and the description of the rains, help to create and communicate the other-worldly and idyllic flavour of the original. On another unforgettable occasion Lal changes with a sure touch from prose to verse to describe Urvashi approaching Arjuna as abhisarika whose delicate nuances can hardly be communicated in prose. Vyasa also uses verse for rendering solemn ritualistic passages such as Sanjaya consoling the blind monarch, the women wailing over the corpse-strewn field, Gandhari upbraiding Krishna, and the tremendous calling-up of ghosts of the departed from the waters of the Bhagirathi in a translation redolent of the Odyssey.

Prof. Lal’s faithfulness to the original affords valuable insights into characters which other condensations miss. In the svayamvara of Draupadi, her joy at the Brahmin-Arjuna’s success vis-‘-vis her disgust at the Suta-Karna’s entering the contest reveals certain caste-snobbery. Lal carefully brings out Yudhishthira’s cussed mule-headedness in his sparing the rapist Jayadratha and in offering to surrender the kingdom if any of the Pandavas are worsted by Duryodhana in a duel. Krishna’s furious berating of such woolly-thinking is often missing in condensations: ‘It was foolish of you to gamble away our advantage now, just as you gambled everything away to Shakuni.’ Most interesting is Krishna’s inability to recreate the Gita experience when requested by Arjuna before he leaves for Dvaraka after the war: ‘I could not now recall what I said then, even if I wished. How will I get all the details right?’

There is the bland statement of Bhishma and Drona, omitted in other abridgements, explaining why they fight for Duryodhana: ‘A man is the slave of wealth though wealth is no one’s slave. The wealth of the Kauravas binds me to them.’ Then there is that solitary glimpse into Draupadi’s heart as she wails to Bhima in Virata’s court: ‘Any woman married to Yudhishthira would be afflicted with many griefs….What does Yudhishthira do? He plays dice…Look at Arjuna… A hero with earrings!

…You saved me from Jayadratha … and from Jatasura … I shall take poison and die in your arms Bhima.’

This is the source of Iravati Karve’s brilliant exposition of Draupadi’s thoughts as she lies dying and murmurs to Bhima, ‘Aryaputra, in the next birth, be born the eldest!’

It is the inclusion of such incidents and rendering them with careful exactitude which make the Lal version uniquely valuable. In addition there is the sheer readability of the transcreation.

There are, however, a number of omissions that detract from the plot interest. We are not told why the Vasus were cursed to be born as Shantanu’s sons, nor how the fish-odorous Satyavati acquires the lotus-scent which draws the king to her. There is a contradiction between pages 102 and 106 between who was born first and who was conceived first – Yudhishthira or Duryodhana. The Ekalavya episode does not mention how this rejected pupil used to practise archery before a statue of Drona. Drona’s birth is omitted though it provides insight into why he is virtually caste-less and spurned by Drupada. Page 120 conveys a mistranslation: the Pandavas do not flee to Varanavata on Vidura’s advice; they go there on Dhritarashtra’s insistence and flee from there with Vidura’s help. The killing of Baka is omitted with its remorseless scrutiny of family relationships and Kunti’s remarkable decisions as a leader. An unfortunate omission is Krishna’s Machiavellian strategy in deliberately throwing Ghatotkacha as bait to attract Karna’s infallible weapon. The atrocious killing of Bhurishravas by Arjuna and Satyaki, referred to on page 409, is another uncalled for omission.

The most critical lapse occurs on page 393 where at the end of Yudhishthira’s horse-sacrifice Prof. Lal unaccountably omits the story that the half-golden mongoose relates, making the ending of Book 14 trite and inexplicable. There is a cryptic reference on page 101 to Gandhari having once sheltered Vyasa when he was dying from hunger which is neither expanded nor found in the original. The story of Shikhandin-Amba’s birth is left out though it is one of the threads that link the Adi to the Bhishma Parva: Amba is the hamartia in Bhishma’s tragedy. The Arjuna-Shiva encounter is yet another memorable incident which has been omitted.

What is the final impression with which this condensation-cum-transcreation leaves us? It is the anguished cry of a man who has witnessed his progeny slaughter one another in insane strife:

I raise my arms and I shout- but no one listens!
From dharma come wealth and pleasure:
Why is dharma not practised?

This is the story of Vyasa and his descendants, all corrupted by that single consuming weakness – lust. With unerring instinct Lal has incorporated in his condensation a speech by Pandu which touches the core of this tragic flaw – a speech which most condensers drop – ‘Addiction to lust killed my mother’s husband, though the virtuous Shantanu gave him birth. And though truth-speaking Vyasa is my father, lust consumes me too’. The seed of lust runs through both sides of the family. It consumes Shantanu who marries a fisherwoman in his dotage, depriving his kingdom of its rightful and able heir, Devavrata. Mahabhisha is reborn as Shantanu for having looked lustfully on Ganga in Brahma’s court when the wind uplifted her dress. Vichitravirya, child of his old age, carries the same weakness and dies of sexual over-indulgence. Satyavati is a product of Uparichara’s lust. Vyasa is born of Parashara forcing himself on Satyavati mid-stream in a boat. Satyavati refuses to put her daughters-in-law through the year-long purificatory penance which Vyasa advises. They await their brother-in-law Bhishma lust-fully and, shocked at the advent of Vyasa, the union inevitably produces flawed progeny. The curse, like the Erinyes, pursues the entire family. It is the supreme irony of the epic that ultimately the Puru lineage and the dynasty Satyavati sought to found through Vyasa are extinct. No wonder Vyasa finally cries out in despair at man’s deliberate rejection of salvation and the remorseless working out of the tragic flaw ingrained deep within, driving him to destruction.

Filed Under: BOOK REVIEWS, MAHABHARATA Tagged With: Book Reviews, Mahabharata, P. Lal

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