Yuganta: The End of an Epoch ~ Irawati Karwe 13 of 25

 

Yuganta: The End of an Epoch is a  critical analysis of the Mahabharata written by anthropologist Irawati Karve originally  in Marathi  and is translated to English by W. Norman Brown.

Initially there were broadly two versions Vaishampayana and Jaimini. Of the latter version only a fragment apparently remains.  We have three narrator, Ugrashrava, who tells the story up to a point, and then tells it as told by second narrator, Vashampayana, who in his turn is the chief narrator up to a point and then tells it as told by the third narrator, and after the battle portion resumes the narration.

The book is an essay, where the author character studies and  treats the protagonists of the book as historical figures rather than as mythical characters. In this book the author has attempted to interpret many of the events of the Mahabharata in a socio-political context. 

The underlying philosophy that remains and mark Mahabharata from other writings is that there is no hero worship here. Ever character have their shades of grey driving home the point,  that 'There is so much of good in the worst of us and so much of bad in the best of us, that it ill behoves any of us to find fault with the rest of us.'

The book begins with Bhishma and his life of fruitless sacrifices, Gandhari her courage and ordeals, Kunti born to endure only sorrows, Vidura who knew much an incarnation of Yamadharma so could be the father of Dharma?, Dhraupadi also called Yajnaseni and Parshati, who was a wife to all five Pandava sons, said to Bhima  with her last breath, 'In our next birth be the eldest, Bhima; under your shelter we can all live in safety and joy.' The book throws light on 'The palace of Maya'. Taking over another's Dharma is dangerous so says Bhagavadgita, XVIII. Paradharmo Bhayavahah covers The two Brahmans who have an important role in the story and are an integral part of it are the father and son, Drona and Ashvatthama. Karna was caught in a vicious grip of who he was. He had no definite position in society. He struggled all his life to gain what he thought was his rightful status and his bitterness lay in not having got it. On two occasions his thoughts were clear and decisive. First when Krishna asked him to join Pandavas and when Kunti told him she was his mother. He was a noble person, a true friend,  a man tied to his foster family by love and duty, an incorruptible vassal. Having spent his life among the Sutas, he was unwilling to break away from them. Krishna enters the story of Mahabharata at the time of the marriage of Draupadhi.  His mission was to establish his claim to the title of 'Vasudeva'. He lacked nothing,  found something good in everything and never fought standing on the ground. His guidance just before the war now famous as Bhagavadgita is originally said to have six chapters.  The others are said to be added later. 

The Mahabharata marks the end of Dwapara yuga, an era, epoch or age. The society then was restricted in many ways. Economy dependent on agriculture and cattle. 

After the war Dharma, after defeating all his enemies said, 'The victory does not feel like victory at all.'

As the book's  concluding sentence, I am indeed fortunate that I can read today a story called Jaya, sung 3 to 5 thousand years ago and discover myself in it.

Jaya, as she was called initially, the young girl who is three or five millennia old  have survived the test of the time. Genera­tion after generation arrive to perform yet another act of interpretative Ashwamedha, sharpening their knives, as the horse of the Bharatas wanders yet again, trying to interpret this philosophy. Our present Mahabharata is the result of many additions and interpretations of the composition by sage Vyasa who played a part in the events and who was an eye-witness of many of them. Was he the original composer or took it as told by suta bards and arranged it, we will never know. 

Mahabharata still retain its moral and imaginative primacy even after modernity has traduced many national epics into antiquarian or linguistic curiosities.

Untameable, prodigious, consuming all that comes in its way— stories, morals, conceits, philosophies—like a horse let loose to wander before an Ashwamedha sacrifice, the Mahabharata appears beholden to none but its own magisterial instincts. .