Unit-t(a) The Mahabharata Usha Anand Objectives The main objectives of this study material are:- 1) to enable the student to get an overview of the general narrative of The Mahabharata and an idea of how to go about interpreting all the complex themes, imagery, incidents, philosophical concepts of destiny, the Vedic point of view, dharma ete. in the prescribed text, 4) to specifically enable hinvher to interpret episodes and characters not just literally but from a symbolic and moral point of view. iti) to see the link between the individual's interests and those of the larger world around him/her, introduce him to the concept of the microcosm and the macrocosm. iv) to do a detailed analysis of the episode of the game of dice, a pivotal episode in the narrative of the. Mahabharata, and to see how it is crucial to the entire story of the epic. ¥) _ to introduce students to modern interpretations of major pivotal characters of The Mahabharata as representing human traits as well as gender-oriented roles. In other ‘words, to link the epic with modem life Prescribed Sections of the Mahabharata A look at the syllabus for B.A. (Hons.) II year, Paper 5 will show you that The Mahabhrata is listed for study in three places. All three items are to be read from different texts which are different versions of the epic. In the first place, you have to closely examine a certain part of the epic. This item is for detailed study. It is an extract from one of the most widely accepted English renderings of the complete epic by a western scholar, van Buitenen. You are required to read a certain part of this three volume version of The Mahabharata (translated by van Buitenen) published by the Chicago University Press. The relevant sections are “The Dicing’ and “The Sequel to the Dicing’. When you read this section, you are getting a glimpse into the real world of The Mahabharata as was probably intended by the composer Vyasa and subsequent bards who recited the epic in the oral tradition. It has all the human drama, action, insight into human behavior, realpolitik, intrigue, cunning, that make this Indian epic such a favourite with all those people who have anything to do with art forms like literature, dance, drama, and also culture. Moreover, these two sections are vital to the plot of the epic and have tremendous bearing on both, the causal chain of events in the epic, and the behaviour of the protagonists. 3Wronged Draupadi seeks revenge and Bhim’s anger motivates him to perform gory deeds of murder and killing, several years after this incident. The second item listed for you is a character sketch of the most important woman character of The Mahabharata as delineated by Iravati Karve a great anthropologist of the ‘twentieth century who can comment, with the advantage of hindsight, on the situation of a royal personage who lived over three millennia ago. Karve’s sketch of Draupadi’s character is a remarkably balanced yet sympathetic appraisal of a woman who lived in a very different historical era, Yet she was a woman who through her intelligence combined with a remarkable sense of integrity raises a legal issue which becomes a moral dilemma for those present at the sabha. Whether Yudhishtira, a man who has already lost himself in the game of dice, had the power to stake his wife, is a question which none present in the assembly can answer satisfactorily. And, till today, the dilemma seems unresolved. Draupadi is a woman who lives by the social norms and conventions of her times. But when she is wronged, she protests even though her protests, her intelligence, her moral integrity are of no avail in her hour of crisis. Still, Karve successfully gives us, through her, the woman's point of view. In the present times, our sense of gender- awareness helps us to sympathize with Draupadi far more than her contemporaries might have sympathized with her. ‘The third item for you is a particular version of the Mahabharata rendered as a number of Stories by a twentieth century writer and man of letters, C. Rajagopalachari. This is to be read as a background item. Rajagopalachari gives a mythological reconstruction of Indian society in times before those of chronologically recorded history. It is presented in the form of stories with a didactic touch. You have to read the stories, register the details therein, sce the links between the character and destiny of various characters, and be prepared for 2 modern socio- psychological interpretation of the narrative. When you see Rajagopalachari’s rendering of stories, you will observe how his interpretation of some women characters lacks sympathy and understanding, even though he 100, was writing to drive home moral lessons in the twentieth century. Rajagopalachari’s male point of view is contrast with Irawati Karve’s feminist point of view. With some of these guidelines before you, please read on. Introduction 1. Scope ‘The Mahabharata is usually accepted as an encyclopedia of ancient Indian culture and civilization, next in importance only to the Vedas, and is often referred to as the fifth Veda. Although the central narrative of the epic is the struggle for power between the Kauravas and the Pandavas, the content of the poem is vast and varied. Its structure is very intricate. Its content has passages of philosophical poetry, poetry of the metaphysical imagination, and itsappeal ranges from the purely literal to the highly symbolic and spiritual. There is the Physical Kurukshetra and there is the Kurukshetra of the mind. In certain passages of great depth, it speaks of the subtle form of the soul and sets forth in detail, the many paths that are ‘open for soul experience, Vyasa who is considered the composer of The Mahabharata unravels the mystery of the animal creation, of the Veda which is wisdom itself, of Yoga with all its metaphysical background of wealth, Desire and Duty. He includes the wisdom of various disciplines or sciences like Ayurveda, Dhanurveda or the science of the bow, Sthapatyaveda or the science of architecture and engineering, and many others. ‘That the Mahabharata was intended as a grand treatise on life is indicated when Vyasa tells Brahma in The Mahabharata itself: Thave in this epic clarified the mystery of the Vedas and incorporated the very essence of all the Shastras or sacred lores as well as the essence of the six constituents of the Vedas and of the Upanishads. I have packed full into it history and legendary lore. There is matter in it regarding the three dimensions of time - past, present and future. I have spoken authoritatively in the epic about the form and features of old age, death, fear and disease, and about the truth and illusoriness of things. Thave clearly explained in it various religious requirements, the distinguishing features of the four ashramas or stages of life, the duties incumbent upon the members of the four castes, and the basic philosophy of the Puranas. In this monumental work, I have also discoursed on the nature of Penance and Abstinence, the manner in which they are to be observed, and the fruits thereof. Embedded also in it are accounts of the earth, sun, moon, stars and mini-stars, the duration and scale of the four yugas or Ages (Krta, Treta, Duapara and Kali) and the spiritual contents figuring in the four Vedas. Presented in detail in it are the science of the proper articulation and pronunciation of Vedic texts, therapeuties or the science of medicine, charity and the doctrine related to Siva. The reasons why souls take body in the wombs of gods, men, animals and birds are also set forth in this work. There is description in it of holy places, regions, rivers, mountains, forests, seas, glorious cities, the construction of forts, the skill in arms of ancient kings and of various languages and castes rarely known. There are aphorisms and proverbs hhere which are useful to people in their daily life. Nor has this work left out an account of the absolute dwelling in the heart-caves ofall living beings. (The Mahabharata) _ Brahma replies to Vyasa and pays his own tribute to the encyclopedic epic, saying. “You have been a spokesman of God and dedicated the epic to the enthronement of ‘Truth. You have called the Monumental work composed by you an epic and it is as an ‘epic, therefore, that it will be known. No great world poet, whatever his greatness, will be able to compose an epic greater than yours.” (The Mahabharata)2. Evolution of the Mahabharata You are aware that The Mahabharata is an epic a ‘Mahakavya’. But as students of literature, We must remember that this epic began as an itihasa, a primarily historical work. Only, the ‘method of its transmission was oral. It was passed on from generation to generation. Bards, minstrels, rhapsodists are all people associated with the tradition of oral transmission in times when the written form was rare and difficult to prepare or procure. An eminent scholar Dandekar, talking about The Mahabharata says: It appears to me that the historical basis of the Mahabharata is quite slender, diffuse and not easily identifiable, A commonplace family feud is subjected to epic ‘magnification with all its hyperboles, miracles, mystification, symbolization, idealization and universalisation. The Mahabharata, I submit, is essentially an epic poem- with emphasis on both the words ‘epic’ and ‘poem’- and not a historical document in the restricted sense of the term. So, in a sense, itis an epic born out of an ‘itihasa’. Now, when we look at it as an epic poem we need to understand its evolution. In order to come to terms with the vastness of the epic we would do well to remember that the Mahabharata is over cight times the combined length of the western epics of classical literature, the Iliad and the Odyssey. It is, in its present form perceived as a blend of history and mythology and constitutes an outstanding record of the collective conscious, unconscious and sub-conscious of man However, it is generally accepted among scholars that it evolved over three stages of composition and compilation. An eminent scholar, Professor U:K. Gokak tells us that “Jaya” was the name given to Vyasa’s itihasa. The text composed by Vyasa was named Jaya referring to the triumph of good, the victory of the Pandavas. This ori composition had about eight thousand stanzas and was recited by Vyasa to his son Suka. From the point of view of narrative technique, providing a listener is a literary device of providing an audience or listener for the narrator. It also gives plausibility to a poetic composition being recited in keeping with the prevalent oral tradition. ‘Vyasa the sage composer also had a disciple called Vaishampayana. This disciple was given the task of expending the epic Jaya_into the Bharata containing many more sections, legendary stories and treatises. These additions led to the Bharata being considered an Itihasa Purana, a step ahead of the itihas Jaya. Jaya was recited to Suka. Bharata was recited by vashanarayana to Janmejaya and others at a Yagya at Takshashila for snake sacrifice to avenge the killing of Parikshit by snakebite. |At this point it is important to remember that this audience is the lineage of Arjuna, one of the Pandavas. Arjuna’s son was Abhimanyu; Abhimanyu’s son was Parikshit and Parikshit’s son was Janmejaya who wanted to avenge his father's death by killing all the rnagas but was persuaded not to do so. So, while the original Jaya, was only 8000 stanzas, the poem recited to Janmejaya was Bharata, a pom of 24,000 stanzas. Bharata tells about the glory of Janmejaya’s ancestors. It is also called the Bharatsamhita, In the language of 6* This narrative was overheard by a Santi or bard called Romaharshana who passed it on to his son Ugrasravas-who narrated it to Shaunaka and other sages of the ‘Naimisha forest. Coming to the narrators withiin the narrative itself, we have the very interesting role of Sanjaya who is endowed with the divine gift of divya drishti which enables him to describe, in great detail, the action taking place on the battle field of Kurukshetra. He describes the war to the blind Dhritarashtra and indirectly to us too as modem day readers/listeners. Within the framework of lineage and caste, Sanjaya himself was a bard. The minstrels who narrated the epic were known as ‘sutas” _“Sutas’ were the illegitimate offspring of Kshatriya royalty. For instance, Karna and Vidura are intelligent people, sons of royalty, but are called Sutas, ‘Kama is a major character in the epic. He is the son of Kunti and the Sun god but, abandoned by Kunti, is raised by a charioteer. Vidura, the most dispassionate royal advisor to the Kauravas, half-brother of Dhritarashtra, is the son of a royal maid and Vyasa. Both these characters are examples of “Sutas’. 4. How do Stories Add Meaning to a Narrative? A popular yet serious narrative like the Mahabharata necessarily contains abstract ideas. Stories enable a narrator to convey those abstract ideas in situational terms so that in the event of an oral recitation they are understood immediately and instantly. Critics who try to explain the power of stories say that like fiction or poetry, stories enable us to experience feelings, thoughts, emotions and images which may lic dormant in our subconscious mind. Ina sense, stories reflect a part of our inner selves, helping us to understand and heal ‘ourselves. Complex and difficult experiences of life can be conveyed through stories. So can a great deal of wisdom. To understand the power of a rich yet simple story, let us briefly recall the story of the ‘Yaksha in The Mahabharata. Yaksha is the Lord of a lake. Nakula, the youngest Pandava is ‘out in the forest to hunt a deer when he suddenly feels very thirsty. Approaching the lake, he hhears a mysterious voice say that he can only drink water from the lake after answering the ‘Yaksha’s questions. However, seeing no one around, Nakula using his cupped hands drinks water from the lake but immediately drops down dead. One by one all the brothers come to the lake, looking for the one who has gone before. The last one to reach is Yudhishtira who is taken aback to find his four brothers lying dead on the ground. Like his brothers before him, ‘Yudhishtira is also addressed by the Yaksha but unlike his brothers, immediately lets go of the water. ‘Appearing before Yudhishtira, the Yaksha asks him a number of questions which ‘Yudhishtira answers very wisely. The questions encompass the Vedas, society, the nature of the world, philosophy, death; almost anything under the Sun. Impressed with Yudhishtira'sYudhishtira or Draupadi or Duryodhana or Dhritarashtra or Vidur or any of the other characters said in the assembly. To get the reference of the narrators of the three recensions of the Mahabharata right, please refer to the Introduction. ‘Coming to the book itself, let us place it in sequential perspective. Having set up a capital in a new city at Khandavprastha which they render into Indraprastha as opposed to Hastinapur over which the Kauravas preside, Yudhishtira establishes suzerainty over a very large number of barons (rulers) in north India. He then seeks to legitimize his authenticity by perfoming a Rajsuya Yagya to which all the barons of various Kingdoms are invited and pay tribute in acknowledgement of Yudhistiras supremacy. The only two states/rulers from whom tribute is not received are king Dhrupada (father of Draupadi, and an ally, by marriage, of the Pandavas) and Krishna who had helped the Pandavas to slay Sisupala, the powerful king who had subdued 86 out 101 barons of aryan lineage in Northern India of those times, ie. in the second millenium B.C. When the Pandavas hold such an important ceremony as a Rajsuya ‘Yagya it is natural that their Kaurava cousins from Hastinapur are also invited. However the visit leaves the Kauravas jealous at the sheer wealth amassed and the splendour of the new capital, its palace and hall. After all, Dhritrashtra had sent them away to seck a new life from scratch in Khandavaprastha. They had done well and with the help of Maya, a demon who was also an architect, set up a splendid capital. It is after this visit that Duryodhana descends into a sulk and when asked, reveals to Sakuni, his maternal uncle, the cause of his unhappiness. As it is revealed that jealousy over the wealth and property of his Pandava cousins is the cause of Duryodhana’s unhappiness, the cunning, scheming Sakuni devises the ploy of inviting them to a game of dice to defraud them of their wealth. The plan is conveyed to Dhritrashtra who has to give permission for the game of dice to be held in the assembly hall in the presence of the family elders and other important people. He is initially hesitant but is subsequently prevailed upon to dispatch Vidura with the invitation. Many questions have been asked about why Yudhistira accepted, bu the answer seems to be that he was simply following a code of conduct or a social convention which dictated that a game of dice could not be declined. Van Buitenen in his introduction to the Mahabharata indicates that dicing is a part of the rajasuya rituals when he says “Yudhishtira had not so far been at all fond of gambling—we have seen quite a bit of him now—and can hardly be regarded as under a private compulsion to rise to any game”. Nevertheless, he submits, though grudgingly: “Once challenged, I cannot refuse.” Once we accept the dicing as an integral part of rajasuya, in the Assembly Hall, as well as the ritual manuals, Yudhishtira is not at all the statue with the clay feet, the paragon of rectitude with the sudden tragic flaw. The text itself does not condemn Yudhishtira for his gaming. Of course if the gambling had been outside ‘Yudhishtira’s universe of law, the authors could easily have dropped the game from their version of the rajasuya, but in a way this would have gone against the spirit of the Mahabharata as a whole. It has often been remarked that the epic is a series of precisely stated problems imprecisely and therefore inconclusively resolved, with every resolution raising a new problem, until the very end, when the question remains : whose is heaven, andwhose is hell? The point counterpoint is achieved, and then gambled away. ‘ypical of the assembly hall as well : suzerainty ig it as perfunctorily as do the ritual manuals, f the vedic ceremony as a ritually legitimate, mast of the Vedic game is dramatically revived. Mean-while Yudhishira remains the king Dharma he had not been too happy before about. For this ambition to become samrat, be it now prepared to go the bitter end. And bitter it is. After an epical losing streak he finds himself obliged to stake his brothers, himself, and Draupadi—obliged, it seems, by the rules of the game, which unfortunately are never explained. What we do gather, however, is that two parties, rather than two individuals play, for Duryodhana’s uncle Sakuni may play for him: itis Duryodhana ‘who pays in the stake. The two parties pay in the first stake in the same amount. The loser adds to his state while the winner's presumably remains the same. It is not clear whether the ‘entire stake stays in the game or the winner pockets the loser’s last stake after each play. Never stated but implicit is this game’s rule that it will go through twenty plays which are presented as two phases of ten each. In the first ten plays Yudhishtira forfeits most of his Possessions, and after the tenth Vidura, the benevolent uncle of the Pandavas makes an impassioned plea that the game be stopped. Vidura urges not Yudhishtira but Duryodhana’s father to stop it and villifies Duryodhana for persisting in it. This would make no sense if Vidura considered Yudhishtira a free agent; it makes excellent sense if Yudhishtira is bound by the rules of his own Rajasuya and must rise to the challenge. ‘The game is carried on for another session of ten plays. Yudhishtra first loses untold millions in the eleventh play, in the twelfth all his cattle, in the thirteenth all his land, in the fourteenth the sons of Draupadi by the five Pandavas, in the fifteenth Nakula, in the sixteenth Sahadeva, in the seventeenth Bhima, in the eighteenth Arjuna, in the nineteenth himself. At the twentieth play the final one of the game, Yudhishtira stakes Draupadi. The audience groans and protests but does nothing to stop the play; evidently the game is to be a complete one, with a total winner and a total loser. But our authors, masters of doubt, have already planted a doubt. Draupadi is lost; she is subjected to indignities that shout for vengeance, she is disrobed but the power of her virtue replaces her saris she also poses the ultimate riddle. Had Yudhishtira staked and lost himself, she asks, before he staked me? If so, he had lost his freedom and, as a slave of the Kauravas, no longer owned her to stake. After much inconclusive argument, Dritrashtra rules thatthe last play was indecisive and thatthe game as a whole had been neither lost nor won. So the Pandavas depart, free and stil rich men. Its clear that the undecided game is not over, only interrupted. At this point if becomes predictable that when the game goes on, it will be with a repeat of the twentieth play whichUnit-1¢b) General Introduction to The Mahabharata ‘The Epic Conventions and Indian Epic Poetry in Sanskrit An epic is defined as a long narrative poem depicting heroic deeds of great characters, usually showcasing their great gallantry and bravery on a grand scale. An epic is broadly classified under the genre of poetry as one of the major forms of narrative literature. It comprises of both oral and written work. The word epic is derived from the Greek adjective epikos which translates to poctic story. The epic poems grew out of heroic poetry which was bout characters from history or legend. The epic genre deals with subjects such as myths, ing legends, histories, religious tales, philosophical and moral ideas. It is a means to pass on traditional values, heritage and culture from one generation to another without the need to write. An epic usually celebrates the life and actions of national heroes who showed exemplary courage and conviction with a sense of moral duty. The primary function of epic poetry is to celebrate the exploits, victories of illustrious ancestors, trace and respect the lineage to which one belongs, to provide role models, and to ass on the rich heritage and historical knowledge to the forthcoming generation. An epic is the oldest popular genre which reflects into the national ideals, value system and socio- historical domain. It is known for the projection of deities who are seen to intervene in human life and for its use of exalted language to add the element of awe. Aristotle ranked this genre as second only to tragedy though many Renaissance critics place the position of epic at the top of all other genres. Most of the famous epics contain a ceremonial narrative style pertaining to a grand subject. The Greek epics such as the /liad and the Odyssey, written by Homer, narrates the story of the Trojan War and the accomplishments of Ulysses, Achilles and other heroes of the Greek world while Virgil’s Aeneid presents the Roman history in Latin. The great epic of Dante called Divine Comedy captures the ascent of the soul from hell to heaven through the painful experience of purgatory. Milton's greatest work the Paradise Lost deals is the reworking of the biblical stories and focuses on the subject of Man’s first disobedience. ‘The Indian epic poetry is popularly known as Mahakavya. The epic poems that mark the beginning of this tradition in India comprises of the Ramayana and the Mahabharata which ‘were originally composed in Sanskrit. They form a part of the canon of Hindu scriptures. The idealization of the hero and placing him on a pedestal is central to these writings. They establish the values of human civilization and highlight moral teachings such as the importance of truth and self-sacrifice. They were performed orally before transforming the words into written form in Sanskrit and later translating it in several other languages. Along with the above, The Five Great Epics of Tamil Literature and Sangam Literature helped lay the cultural foundation of India. These are some of the oldest surviving epic poems. ‘An Indian epie is also called /tihasa in Sanskrit as it portrays events of the past centuries. The greatness of the Indian epic cannot be understood without learning about the Epic Period, its 19political environment, functioning of the royal palace and its association with arts and literature. The initial glimpses of epic poctry in India can be seen in Vedie Sanskrit literature Particularly in the hymns of the Rig Veda. The recital of poetry was an integral part of religious events at festivals. The themes generally revolved around the stories of gods and heroes. The narrators, authors and preservers of this form of ancient poetry were the bards who lived at the king’s court and recited these compositions during feasts. Indian epic poctry finds its roots in the circle of such bards or poets. The Ramayana and the Mahabharata are @ collection of variety of poems which existed throughout centuries and have undergone additions, alterations, and revisions. The following are the epic conventions which define broad characteristics common to this genre: ) Invocation to the muse at the start of an epic. In the Mahabharata, Vyasa invokes Nara and Narayana, avatars of Lord Vishnu and Goddess Saraswati. b) Epic begins in ‘media res’ that is, in the middle of action. The Mahabharata follows this technique ©) The hero of the epic has supernatural attributes overshadowing the characteristics of common people. The action displays the courage, bravery, moral duties of the hero, ‘The heroic traits are put through a trial by the circumstances surrounding him. The Mahabharata has many central heroes like Krishna, Bhishma, Arjuna, Kara among others, 4) Formal speeches by main characters. Book V of the Mahabharata has speeches by its central characters like Krishna and Karna, ©) The epic style follows a grand narrative with vast setting and broad dimensions where the actions of characters can be applied in a universal context. ) Supernatural intervention ~ In the Mahabharata, Krishna is said to be the avatar of Lord Vishnu. Also, in Book V the birth of Kama has supernatural elements. 8) Use of epic simile and repetition of stock phrases because epic poetry was passed on cally and this aspect helped in remembering the important lessons. In the ‘Mahabharata too, lots of events and speeches are repeated. ‘The Mahabharata is considered as the longest epic poem. Sage Ved Vyas is eredited with the authorship of this extensive work. The oldest surviving parts of the text is about 400 BCE. It deals with the struggle for power between two groups of cousins, the Kauravas and the Pandavas in Greater India. It contains more than 1,00,000 slokas (couplets) in 18 (Parvas) sections. 20The Temptation of Karna Ratika Anand 1.1 Introduction The Mahabharata is characterised as a work of art that would sustain socio-cultural heritage and traditions of learning. It is often called as itihasa which is as endless as the Vedas. While being both prescriptive and descriptive, it presents the past, present and future. It engages with culture, history, philosophy together with cosmology and portrays it with grandiose on a large scale. The Mahabharata is also categorized as a kavya or poem but not of an ordinary level rather at par with the Vedas. It is also conferred the status of being called as the fifth Veda. The text is envisioned as two trees, the tree of manyu or wrath and the tree of dharma or ethies. This lesson discusses sections from Book V titled “The Temptation of Karna” which unfolds the truth behind the birth of Kama who is caught in a moral conflict between his obligation to his good friend Duryodhana and his duty towards his birth mother Kunti who appeals to Kama, Kama plays a central role in the epic the Mahabharata. He is the son of Kunti and Surya, the sun god. Kunti received # mantra from sage Durvasa as a reward for taking good care of him. It would enable her to invoke a deity of her choice and have a son with him. She wanted to test the mantra and conjured the god of sun with whom she has her first son Karna. However, Kunti was a maiden at the time of his birth and she had to abandon him in order to preserve the reputation of her father. The name Karna is a Sanskrit word meaning the ear. It is said that Karna was born out of Kunti’s ear. He was born adomed with splendid earrings and a majestic armour which signifies power. They are for his protection and are symbolic of his immorality. His demeanour at the time of his birth is said to be glorious and divine. After he was abandoned by Kunti in the Ganges river, he was found by a charioteer Adhiratha and his wife Radha who take him to be their son and name him Vasusena. Kama grows up to be a successful warrior, he possesses a gift of gab and is a loyal friend to Duryodhana. Kamna’s mastery in martial abilities was known to Duryodhana and he knew that only Karna can match the skill and military prowess of Arjuna but since Kama was from a lower caste it was against the moral codes to challenge a kshatriya, Duryodhana thus appoints Kama as a king of Anga so he can go against Arjuna and prove his valour. ‘Kama is truthful in his words and generous in his actions. Despite being forewarned by his father Surya, Karna sacrifices his earrings and breast plate to Indra who was disguised as a brahmin. Karna was then no longer invincible, yet his action was of heroic disposition. He is an upholder of integrity, principles, moral and ethical norms. Until Book V he is oblivious about his kshatriya birth. In Book V, Krishna and Kunti try to persuade Karna to join the Pandavas in the war of Kurukshetra. Krishna visits him first and a[Link] Check your progress QI. What does Krishna say to Kama? Q2. How did Krishna try to tempt Kama? Q3. What was Krishna's motive behind tempting Karna? [Link] Section CXLI Kama holds Krishna’s words and advice in high esteem. He expresses his gratitude to Krishna for showing concem. Kama understands that the stiggestions of Krishna are in his interest and welfare for which he is thankful. However, he politely refuses to accept the offer and he provides broadly two reasons for his decision. First, he Voices his agony at the very thought of being abandoned at the command of Surya by his birth mother Kunti. In accordance to the scriptures, morally he is the son of Pandu but has been raised by charioteer Adhiratha and his wife Radha. They took him in as their son, performed all the necessary birth rites as a suia and raised him amidst immense love and abundance of affection. He has performed all his domestic and marital rites with suas. Kama feels morally obligated to Adhiratha and Radha for the hardships they have endured to raise him. He was named Vasusena by his father Adhiratha, Karna married according to their will and is blessed with sons due to the selfless deeds of his parents for him. He cannot imagine breaking the bond with his parents neither in exchange for heaps of gold nor for the sake of the whole world, Secondly, he expresses his sense of moral duty towards his friend Duryodhana because of whom Kara enjoyed fifteen years of royal power without any trouble. Kama is indebted to Duryodhana for helping him gain a social status. Duryodhana is responsible for the position of Kama and has always shown confidence and belief in Kama. He is relying on Kama for his victory and Karna cannot let him down. He refuses to be a traitor and cheat his own sympathisers. Duryodhana has challenged the Pandavas to a battle and Karna has invited Arjuna to face him in a single combat. It is his duty to stand by Duryodhana in his hour of 23need. Kama says that even if he gets the empire, he will pass it on to Duryodhana, He Fequests Krishna not to disclose this secret to the Pandavas otherwise Yudhishthira will refuse the throne because the truth will stand between him and his dharma. Kama sees Yudhishthira as possessing the proper traits and qualities needed to be a ruler. Yudhishthira also has the support of his eamest and sincere kinsmen. Karna can foresee that the mighty kingdom will be won by Yudhishthira. He knows the victory of the Pandavas is predestined and the sacrifice of the Kauravas is inevitable. Kama repents his insulting behaviour and the use of harsh words towards the Pandavas for the appeasement of Duryodhana. He can envision that the Kauravas will pay a hefty price which will begin with Arjuna slaying Karna in the duel and end with the sacrifice of Duryodhana at the hands of Bhimasena. Kama prays to Krishna not to let the kshatriyas die a useless death in misery and awful conditions. He appeals to Krishna to let Kshatriyas face their death by weaponry in the most sacred place among the three worlds, the land of Kurukshetra, so that they all can attain heaven. Their courage and bravery shall be celebrated and passed on by the holy brahmins who will keep the glory of the kshatriya alive as they will continue to recite the great battle of the Bharatas Ull there exists mountains and rivers. [Link] Check your progress QI. Why does Karna refuse the offer of Krishna despite knowing the ill fate of the Kauravas? 2. Why does Kama feel morally obligated towards his parents, Adhiratha and Radha and his friend, Duryodhana? Q3. Why does Kama request Krishna not to disclose the secret of his birth to the Pandavas? [Link] Section CXLIT Krishna asks Kama if the offer of kingship and ruling the entire world not tempt him. He reassures Karna that the victory of the Pandavas is certain. He provides gory and vivid details from the battlefield in which the Kurus being slayed at the hands of the Pandavas. This triumph of the Pandavas will mark the beginning of Kali age. Kama is told to deliver the message to Drona, Santanu’s son and Kripa that the war will commence in seven days on the Day of Indra and all those who follow the command of Duryodhana will succeed in their own death. [Link] Section CXLIIT Karna questions the omniscient Krishna that since he already knows everything, why did he seek to beguile and tempt him. The destruction of the whole world at the hands of Sakuni, Dussasana, Duryodhana and Karna himself is predetermined, He explains the astronomical events and astrological happening that reinforce the impending doom. Karna furthers elaborate the disturbing omens, fearsome dreams, abominable visions that are a premonition of the imminent annihilation that awaits the world. He has observed that all positive and favourable omens support the Pandavas which are an indication of their victory. Kama bids farewell to Krishna and returns with Sanjaya. 24[[Link] Cheek your progress QI, What were the omens and visions which foretell the victory of the Pandavas and the defeat of the Karaurays? [Link] Analysis of Part 1 Krishna approaches Karna as an ambassador of peace, seeking to prevent the impending war and violence, He knows that the battleground marks their doom and will turn into a deathbed of the warriors. He approaches Kama to iell him about his high birth and disclose that Kunti is his mother so that he will join the Pandavas. Krishna tempts him to join his own family of Pandavas and lures him with all kinds of riches, wealth, respect and honour. Krishna wants to captivate the thoughts and senses of Kama so that he would give in to the temptation and the world may witness the great reunion of Kama with his mother Kunti. Krishna, at his end, puts - in efforts to stop the war from happening. He was impressed with Kama’s knowledge of ‘Vedas and scriptures. Kama makes a virtuous decision of declining the proposal. He raises pertinent issues before Krishna. One, Kama realizes that death and destruction of the Kurus is preordained but he cannot abandon his ethical and moral duty towards his parents, Adhiratha and Radha and his best friend, Duryodhana. Two, he makes an insightful request to Krishna to keep this ‘conversation a secret and the truth about his identity should not reach the Pandavas otherwise ‘Yudhishthira will refuse to accept the throne. Three, he further appeals to Krishna that Kshatriya should have a respectable death and find heaven. This thoughtful response of Karna and his intuitive pleas shows his noble side. He had to decide between the two alternatives of either adhering to the suggestion of Krishna to join the Pandavas which may have led Duryodhana and therewith the Kauravas to withdraw from the war, or to abide by his moral duties and ethical codes dictated by his conscience, belief and principle to support Duryodhana. This is one of the dilemmas faced by Kama. [Link] Check your progress QI. What were the reasons behind the temptation of Kama and why does Karna refuse the proposal of Krishna? 14.2 Part Il: The Confession of Kunti [Link] Section CXLIV This section begins with the narrator delineates the conversation between Kshatri (Vidura) and Kunti in which Kshatri expresses his helplessness and misery at the failure to evade the battle. Even the efforts Krishna did not discourage the Kurus. He talks about his incompetence at persuading Duryodhana against the thought of the war. Yudhishthira, despite being a man of great strength, appears weak in his judgement of fighting the battle. King Dhritarashtra fails to comprehend the motivation that drives his son to the battlefield. He 25takes immense pride in his sons which has deprived him of judgement. He chooses to tread an unscrupulous path to his destruction, Kant is grief stricken at hearing the words of Vidura and thinks about the absurdity of fighting over wealth which is Boing to result in mass slaughter of their own family and Kinsmen. But her heart seems to be divided as she also believes that the Pandavas have no cption but to participate in the battle. She is constantly thinking about the repercussions of the ‘rit: On one hand, she feels that if they refuse to fight, they will end up in poverty and face disgrace which is worse than death itself. On the other hand, she belheves that there is no srandfather Bhishma may favour the Pandavas but the biggest threat to then is Kama who abhors the Pandavas and his heart is filled with hatred for Arjuna. She decides to share her secret with Karna and to reveal that she gave birth to him. She recalls the days when she was ‘devoted to the service of the holy sage Durvasa who was pleased with Kunti and taught her a Tiantra that would enable her to have sons from any god that she wished to invoke. Unfortunately, Kunti did not fully understand the power and future implications of the boon. She was overwhelmed with curiosity to test the mantra and summoned the yun god, Surya. ‘The mantra was potent, and she conceived Kama. Remembering her past, she reaches the shore of river Ganges to find her son Kama chanting Vedic hymns and praying before the sun 80d. Kunti was certain that her son Karna will not disobey her words. [Link] Check your progress QI. Why was Kunti feeling restless and worried for her sons? (Q2. What was the inner turmoil taking place within Kunti? Q3. When does Kunti decide to tell Kama that she is his biological mother? What were the intentions behinds Kunti's big revelation? [Link] Section CXLV Karna respectfully greets Kunti, introduces himself as the son of Adhiratha and Radha, and asks what service he could do for her. Kunti reveals her big secret to Kama and tries to explain her predicament. She tells Kama of his majestic birth as he was born with radiant earrings and a breast plate. Karma is advised to unite with his brothers and enjoy the glory that would follow. Kunti reminds him of his duty as her son. She wants the Kauravas to witness to union of Kama and Arjuna. She knows that together they ean accomplish the world. [Link] Section CXLVI Karna hears the voice of his real father Surya who validates the words of Kunti He advises Karna to follow the path that his mother shows and assures Karna that it will lead to his Prosperity. Kama disapproves with the commands of the kshatriya law as he has bees deprived ofthe rites ofa kshatriya, He i filled with contempt at Kunti’s negligence when she abandoned him for her own interest and ignored the wellbeing of her child. He could hve 26lost his life. He questions the actions of Kunti and asks her why she has reached out for him on the eve of the battle. He can see that she has her own vested motive behind telling Karma about his birth. Kama asks if going against his words at the eleventh hour will not be a Violation of the kshatriya dharma. He says he will be regarded as a coward for dishonouring his promise and betraying the Kurus. Duryodhana has always respected him and has been attentive to his needs. He has been a dutiful friend who has obliged Kara in many ways Kama cannot think of abandoning them in their hour of need. Kama is indebted to him and it Would be against his own principles to go against someone who stood by him during his worst times, Karna however takes a pledge before Kunti that he will fight only Arjuna and not harm any of her other sons, Under any circumstance, either him or Arjuna will survive along with the rest of her four sons. Thus, the number of her sons would continue to remain five. [Link] Check your progress QI. How did Karna respond to Kunti’s confession? Q2. What reasons did Kama cite for his refusal of Kunt's offer? Q3. How did Karna show respect and proved his regards for Kunti? [Link] Analysis of Part IL Kunti was worried contemplating the outcome of the war of the Kurukshetra, She was mostly afraid of the gnawing hatred of Kama towards the Pandavas especially Arjuna. By revealing to Karna the truth about his parentage, Kunti wanted to secure the lives of her sons. She was confident that Kama will not disappoint her and will join his brothers in the battle. Her intentions though questioned by Kama are not entirely wrong. As a mother she wanted do to the best for the protection of her sons, At the same time, the refusal of Kama to accept her proposal was conscious and self-righteous decision of Karna. He had to decide between his duty towards his birth parents and his moral obligations towards his friend, Duryodhana. The decision to choose one duty over another can be a challenging and Karna was bound by his ethical codes. His regard for Kunti’s sentiments is seen when he promises not to kill any of her sons in the battle except for Arjuna. [Link] Check your progress QI. What did Kunti confess before Karna? Why did she decide to tell Kama the secret of his birth on the eve of the battle? Q2. What were the duties that held back Karna from accepting Kunti’s offer? 1.5 Themes 1. The Question of Dharma and Morality Dharma is a complex notion in Indian philosophy, religion and spirituality. It’s a doctrine with multiple layers which teaches to uphold the moral duties and ethical principles and practice virtue, righteousness and good behaviour to preserve the order of the universe. It also instructs to abide by cosmic laws and to act in accordance to the belief system stated in ascriptures. This will guide one to follow the path of the duties and actions as defined by one’s birth. Kama places more importance to his loyalty to Duryodhana as compared to the recommendation of Krishna to switch sides to join the Pandavas and become the king in accordance to Dharma-sastra, the sacred book of Hindus in Sanskrit pertaining to dharma, religious and legal duty. ‘There are primarily three dilemmas which are faced by Kara. Firstly, the moral conflict within Kara whether to join his brothers and reunite with the Pandavas or to show allegiance to Duryodhana who has supported Kara in his trials and tribulations. Secondly, Karna is a dutiful son and is seen to be tom between his obligation and responsibility towards his foster parents, Adhiratha and Radha, and his birth parents, the sun god and Kunti, Thirdly, there exists a latent conundrum in the mind of Karna if he should adhere to the ethical duties and Principles of kshatriya dharma or fulfil the expectation of Suta varna. Each dilemma reveals a different side of the character who is faced with complex choices. It is difficult to arrive at one right decision because both the choices are right in their own premises and it is almost like holding one duty as more important against the other. Kama is thus faced with a complex challenge which is not to decide right from wrong but to choose one duty over another. 1 The Subject of Caste Kama is resentful for the discrimination he faces for being a son of a charioteer. He wanted to acquire the art of warfare from Drona who refused Kara due to his caste. He disguised himself as a brahmin to become a student of Parashurama. He was stopped from participating in Draupadi’s Swayamvar due to his caste. His sua status came in the way of showeasing his martial skills. According to the scriptures, a suta due to his lower caste was not allowed to fight a kshatriya. When Kama challenged Arjuna, instead of accepting it he insulted Karna by calling him a suta. Duryodhana saw in Karna the potential equal to that of Arjuna. He found Kara to be someone to beftiend in order to balance out the power of combatant Arjuna. Kama is made the king of Anga by Duryodhana so he can challenge Arjuna. Karnia proved to be a better archer than Arjuna. Kama in his hatred vowed to defeat and kill Arjuna. In Book 'V, Kunti confesses to Karna that she is her birth mother and asks him to follow his Kshatriya duty of protecting his brothers and appeals to Kama to side with the Pandavas in the war. This stirs more bitterness in Karna as he realizes that he was denied his inherent status of a kshatriya. He discerns that the reason behind the invocation of the kshatriya code by Krishna and his mother Kunti is the prevention of the war of Kurukshetra and protection of the Pandavas respectively. Despite his hatred for the Pandavas, he shows reverence to Kunti and promises not to harm any of her sons except for Arjuna. This way in the event of his or Arjuna’s death, the number of her sons with always remain five. 2 Identity Crisis in Karna Karna was born as a Kshatriya in a ruling class family but in no time, he was transformed in a lower caste. The caste is linked to the social identity of an individual. Karna is insulted and ‘considered a social outcaste because of his alternate identity. This crisis of identity made him