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Mahabharata

#book #in-progress #stone

review

Note

This is a work in progress. The book is so long that I feel like I would have a pretty bad time if I waited til the end to write the review.

overview

context

Social class is majorly influential in the Mahabharata. Differences in life circumstances lead to wildly different paths, whether fated or of one's own volition. The Indian caste system used at the time was organized as follows:

Most of the main cast consists of kshatriya; those who are not are discriminated against. Karna is our most prominent example of this. Though he is, by blood, the son of Kunti and Surya, due to his adoptive parents' social standing, he is considered a sūta, a mixed caste. Thus, despite his prowess at archery, his low social class causes Draupadi to reject him as a suitor at her svayamvara, choosing Arjuna instead.

The poem was a map of the labyrinth,
the moral maze, that is our life on earth.
It told of choices and of mortal error,
of how even the saintly go astray
while, even in the worst, glimmers of gold
reveal themselves to a compassionate eye. (89)

Yet, the tradition of adding commentary to manuscripts sometimes leads to interpolation issues where annotations or additions are mistaken as part of the original work. (Medieval Commentary and the Interactivity of Text)

core themes

good and evil

writing style

Carole Satyamurti's version of the Mahabharata is a retelling, meaning it is not a direct translation, but rather a paraphrase. Shlokas (with 16 syllables per line) become blank verse. Satyamurti chooses to emphasize certain events through her own interpretation, but she maintains each characters perspective and philosophy. Though I have not seen the original, I quite like the style, as the pace and cadence of the verse is captivating, especially in fight scenes and descriptive imagery. For instance, take the following lines describing the atmosphere before a monsoon:

The air was still and heavy
with expectation, earth begging for rain
as though the whole of life were in suspense. (332)

Or this depiction of Krishna:

Dark-skinned Krishna,
swathed in a robe of yellow silk, resembled
a sapphire in a setting of bright gold. (755)

On the integrity of translation, the afterword notes:

A text that represents another text may be a translation (“faithful”), an adaptation (somewhat “loose”), a retelling (relatively “free”), or even a reworking (“creative”). In the past two decades, literary theorists have argued persuasively that all these categories can be placed on a single conceptual gradient called “translation” in the broadest sense, which moves from the most literal rendering of a text at one end to the most approximate at the other. In the late seventeenth century, John Dryden suggested brilliantly that the three defining positions on this spectrum be labeled “metaphrase,” which is a word-for-word or interlinear version; “paraphrase,” which deviates from the letter of a text, but not its spirit; and “imitation,” which ignores the letter, and also merely “strives after” its spirit. In general, translators may pursue any of these shades of rendering legitimately, provided they identify the genre of their output without ambiguity—that is, as a translation, a paraphrase, an adaptation, an imitation, and so on.

The narrative itself consists of layers of interwoven stories. First, the prologue creates a frame—Vyasa, supposed author of the work's, son, Vaishampayana tells the story to the king Janamejaya. Occasionally, they act as a surrogate audience, asking questions about the story and facilitating transitions. Within the legend itself, side characters introduce embedded stories, too. Notably, when these tales that are three layers deep are told, the writing style switches from blank verse to prose. See also: On the frame narrative in The Burning of the Khandava Forest.

who's it for + difficulty

what gave me the fizz

connections

questions

thoughts & analysis

notes

Mahabharata.pdf

Part I: The Book of the Beginning

Summary

The origins of the Bharatas and the rift between the Pandavas and Kauravas. The Pandavas are sent into exile, but they come back with their beautiful wife, Draupadi, and are granted half the kingdom even though Durodhyana wants nothing more than to smite them. Karna joins the Kauravas because he is envious of Arjuna. Though he is just as talented, he is denied many things in life due to his lowborn status.

Part II: The Book of the Assembly Hall

Summary

Maya builds the Pandavas a beautiful assembly hall. Durodhyana visits and is jealous, so he devises a plan to invite Yudhishthira to gamble his kingdom away. Draupadi is dishonored, yet nobody is able to speak up for her in the moment. Dhitarashtra finally returns everything to Yudhishthira because the Kauravas have taken it too far. However, Durodhyana persuades him to call them back to gamble for thirteen years in exile. They must live the final year among society, and if they are discovered, the thirteen years must repeat until they succeed.

Part III: The Book of the Forest

Summary

The Pandavas spend their first twelve years of exile in the forest. During this time, Arjuna goes to the Himalayas to obtain astras from Shiva, Yama, Varuna, Kubera, and Indra. The Kauravas prepare for the inevitable battle to come.

Part IV: The Book of Virata

Summary

In their thirteenth year of exile, the Pandavas live in a court under disguises. They are blessed by Dharma to not be discovered. During a cattle raid, Arjuna defeats the Kaurava forces as the dancer with prince Uttara as his charioteer. The Kauravas retreat. Virata's daughter, Uttaraa, marries Abhimanyu.

Note

After this point, I started taking notes in Xmind

locations

terms

related art

nandalal-bose-abminue-badh-1l.jpg
Abhimanue Badh by Nandalal Bose (1882–1966)

related

highlights

Note

Page numbers from KoReader on an epub version. There are a total of 1748 pages.

This is the tale of a tragic dynasty;
a narrative of hatred, honor, courage,
of virtue, love, ideals and wickedness,
and of a war so terrible, it marked
the threshold between one age and the next.
(74)

Note: 1

Although the poem tells of huge events,
battles, armies of a million men,
and though it speaks of gods and demons acting
directly in the human world, the gist—
the conflicts and dilemmas, the regrets
the way that good and bad, wisdom, delusion,
strive for dominance in each of us —
is still played out in every human heart
and always will be.
(81)

Note: 3(Dharma), Epic poetry reflects the divinity within the human psyche

He himself
was both author and actor in his story—
as we are in our own lives and, besides,
all is permitted to the storyteller.
(89)

Note: Stories are powerful

The poem was a map of the labyrinth,
the moral maze, that is our life on earth.
It told of choices and of mortal error,
of how even the saintly go astray
while, even in the worst, glimmers of gold
reveal themselves to a compassionate eye.
(89)

Note: 4

Thought became language — that was the alchemy
that led in turn to deeds.
(144)

Note: this is a really pretty phrase

Now he had understood
what it means to aim, but without straining.
He had a glimpse of how one may become
a channel for the world's natural forces
to play themselves out. How, without striving,
without attachment to the end result,
abandoning desire and memory,
an arrow can be loosed, and find its home.
(168)

Note: 無為, to navigate life as water does the stream.

[The Master] has without possessing,
and acts without any expectations.
When her work is done, she takes no credit.
That is why it will last forever.
The Dao De Jing 道德經

Desire points to the future, memory the past. Thus to take aim without straining can only happen in the now. Only an arrow loosed within this pocket of time can effortlessly find its home.

The most powerful forces in the world
are often born in darkness. Think of fire,
the molten fire that sleeps beneath the ocean
but will erupt at the apocalypse
to engulf the earth. The mightiest rivers
have unimpressive origins; their greatness
grows as they make their journey through the world
joining with others, broadening, deepening,
meeting barriers, overcoming them.
That's how it is with the noblest warriors.
(218)

Note: 7

The Kauravas were routed. They had learned
that a thirst for victory was not enough.
(223)

Note: 3(Character) patience in war and in life

"So, you see," said Vyasa to Drupada,
"what seems to you contrary to dharma
is, in fact, celestially ordained."
(299)

Note: celestial vs. human law, cf. Antigone

The air was still and heavy
with expectation, earth begging for rain
as though the whole of life were in suspense.
(332)

Note: 457 this scene is so picturesque!! Beautiful!!

Maya, a gifted demon, dodging the flames,
about to be cut down by Krishna's discus,
cried out, "Arjuna! Save me, Arjuna!"
Appealed to in this way, Arjuna called,
"Have no fear." And Maya was protected.

Note: speaks to Arjuna's ego

As his boon, Krishna asked that Arjuna
should be his friend lifelong, both in this world,
and in world's to come.

Note: 3(Friendship) similar to friendships in Greek epics

"Yudhishthira," said Krishna with a smile,
"time flows on, day by day, and waits for no one.
We do not know when we will meet our death.
To hesitate, to turn away from dharma,
never prolongs life. But it costs a man
his honor—and that loss is worse than death.
Do not divide your mind against itself
through doubt and paralyzing cogitation.
The great man acts, as time demands of him."
(371)

Note: 57 he's spitting bars holyyy

We behold in Krishna
the source of everything that's valuable.
As Mount Meru is the greatest mountain,
as the eagle is the lord of birds,
as the ocean is deepest among waters,
so is Krishna foremost among beings
ina all the worlds, past, present and to come.
Good people everywhere pay tribute to him.
Contained within him is the universe,
its origins, its being and its end.
(389)

Discontent and jealousy are good
for a kshatriya. Contentment weakens
the ambitious striving which can bring success;
so does fear, and so does limp compassion.
In pursuit of prosperity, any means,
any means at all, are justified.
Think of Indra, who cut off Namuchi's head
even though he had promised not to kill him.
An enemy is onee whose interests,
like the Pandavas', run counter to one's own.
Peaceful coexistence with an enemy
is the way of fools and cowards.
(413)

Note: 3(Honor, character) contrasting with Yudhishthira's philosophy. Ego-centric versus an honorable king's outlook.

But what man is there who is not
subject to the blinding power of fate
that dazzles us, depriving us of reason?
What will happen is what time ordains.
(417)

Note: 3(Fate)

"It is the work of fate," sighed Dhritarashtra.
"I always try to make the best decisions,
but when the gods intend someone's defeat
they first make him mad, so that the wrong course
seems to him the right one. The power of fate
can be simply this twisted view of things.
All else follows . . .
Yet my foolishness,
my great love for my son, will bring about
the all-consuming tragedy of war."
(462)

Note: 3(Dharma, fate) Dhritarashtra passively accepts fate, whereas the Pandavas struggle between upholding their honor and attempting to defy it. Ironically, Dhritarashtra has the power to determine the fate of the nation when Durodhyana is born, yet in his weakness, he is unable to make a decision for the greater good. However, his dilemma is also a very human dilemma, and he suffers seeing the consequences of his actions unfold—this is his karma.

They have their gaze fixed on eternity
and that helps me achieve a kind of peace
when otherwise I would be overwhelmed
by grief and guilt.
(491)

Note: 3(Ego)

"But Draupadi,
as the wise know, sinful acts arise
from overhasty rushing to revenge.
One who is wronged and who responds with anger
is prone to bad judgment, liable to act
impulsively. Good rarely comes of it.
If every person with a sense of grievance
struck back immediately, where would it end?
Unceasing death inflicted, death returned.
An endless round of blow and counter-blow
allows for no reflection or repentance
and only leads to sorrow upon sorrow.
A peaceful world is founded upon patience
and only when a kingdom is at peace
can children flourish, cows grow fat, and farmers
plant seeds with confidence, watch their crops grow,
and gather a rich harvest. "I believe
that forbearance is the strength of the strong.
One who is forbearing retains power.
Anger is not strength but, rather, weakness;
is is not the same as authority . . . "
(492)

Note: 3(Ego)

The Almighty is not like a loving parent
but, like a child playing with its toys,
manipulates our limbs, controls the strings
as though we were wooden puppets. I believe
there's no such thing as freedom, no mastery
over ourselves or anybody else.
(494)

Note: 3(Fate) Draupadi's perspective after being utterly humiliated—understandable. What does the Almighty refer to? Dharma?

I choose to follow dharma, and I do it
because it is right, not to obtain rewards.
(494)

Note: 3(Character, dharma)

I don't despise dharma.
But one who does nothing in the face of evil
Is an unfired pot, worn away by water.
You preach forbearance above everything,
but every living human being must act.
From the infant, sucking it mother's nipple,
to the dying person's final labored breath,
we fight to stay alive. What we achieve
is not just fate, nor is it mere chance
but the fruit of all we try to do.
We have to strive with what strength we possess,
using reason and determination,
to convert our actions to achievement.
That way, we do not need not reproach ourselves.
A peasant from the soil and plants the seed.
Then he waits for rain. If the monsoon fails,
and the seedlings with the ground,
he will, at least, have acted as he should.
Without faith and chance he cannot prosper.
But without his action, best of husbands,
fate, and chance have nothing to work upon.
(496)

Note: 3(Character, fate) a sound argument against Yudhishthira's inaction by Draupadi. However, inaction in some cases is also action. By sticking to his principles, Yudhishthira upholds dharma, which is action in itself. Rather than acting hastily, he bides his time with patience to reap results tenfold.

If you take the long view
the wicked do not flourish. They are like plants
with showy flowers but weak and shallow roots.
The virtuous are well grounded in dharma
and, through devoted discipline, they weather
bad times and good, seeing them as the same.
Like the demons before them, wicked people
lose direction, and fall prey to discord.
Given to restless searching after pleasure,
true and lasting happiness eludes them.
(534)

Note: 3(Character)

'I am Narayana,' replied the child,
'creator and destroyer of all creatures.
I am Vishnu, Shiva, Yama and all gods.
I am the Placer; I am the Sacrifice.
To sustain the earth, I manifest
at different times as different incarnations;
I take on human form to combat evil
but no one knows me. Understand, brahmin,
that every human quality and impulse—
anger, lust, fear, joy, confusion
as well as duty, truthfulness, compassion—
is an aspect of me. Human beings act
not from free will, but influenced by me.
I alone control the wheel of time.
At the end of each cycle of ages
I am all-destroying Time itself.'
(577)

To be happy,
one has to suffer first. Each of these states
is simply how things are. The two conditions
succeed each other as the seasons do.
The wheel turns.
(601)

'There are some things in life,' Savitri said, 'that only happen once. I have chosen my husband, and I will not choose a second time.'
(613)