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‘Epic’ proportions

Aradhika Sharma Written in the fourth century, Ved Vyasa’s 100,000 verse long the Mahabharata is the longest-selling bestseller in the country.

‘Epic’ proportions

Illustration: Sandeep Joshi



Aradhika Sharma

  • Written in the fourth century, Ved Vyasa’s 100,000 verse long the Mahabharata is the longest-selling bestseller in the country.
  • It is constantly contemporised and has been adapted countless times to fit in the current times. Filmmakers and playwrights hark back to it for inspiration for their plots and seek stimulus from its dramatic situations. 
  • Politicians and businessmen apply the ancient strategies to modern times.
  • Beyond India, the Mahabharata is popular in south-eastern countries like Indonesia and Malaysia.

In short, alluded to several times in a day, the Mahabharata is one of the most alive, vibrant and significant epics ever written. Cited by established theorists, philosophers, academics, leaders to explain several present-day situations, it continues to be as relevant. 

Dice of politics

Since the premises of the Mahabharata are rajniti (politics) and ranniti (warfare), it is only natural that the epic is the favourite reference point for our politicians, both when they admire and disparage situations. 

In 2014, Mallikarjun Kharge, leader of the Congress in the Lok Sabha, likened the BJP to the Kauravas and the Congress to the Pandavas. Recently, the sentiment was echoed by Rahul Gandhi who said at the 84th Congress Plenary Session: “Like the Kauravas, BJP and Rashtriya Swayamsevak Sangh (RSS) are designed to fight for power. Like the Pandavas, Congress is designed to fight for the truth”

However, it is former Prime Minister Dr. Manmohan Singh who seems to have earned maximum comparisons between the epic characters and himself. His media advisor Sanjaya Baru claims in his controversial book, The Accidental Prime Minister, that during the first term of the UPA, he was like Bheeshma, but in the consecutive term, he was the Dhritarashtra — the allusion being obvious. Incidentally, the analogy has previously been used by Arvind Kejriwal. In 2012, Prashant Bhushan (who was then supporting Anna Hazare) likened PM Manmohan Singh to Shikhandi, used as a kavach by the Congress party, “Just as Shikhandi was used as a shield in Mahabharata.” But, in 2008, Manmohan Singh took to the epic and quoted to Atal Bihari Vajpayee as the “Bheeshma Pitamah of Indian politics”. 

In a separate context, in April, Tripura Chief Minister Biplab Deb claimed, “India has been using internet since ages. In  the Mahabharata…Sanjay was blind but he narrated what was happening in the battlefield to Dhritarashtra anyway. This was due to internet and technology. Satellite also existed during that period.” 

Not surprisingly, this comment was universally disparaged.

Now at B-schools!

Harvard Divinity School has opted to focus on Indian Religions Through Their Narrative Literatures: The Epics. The graduate-level class to be taught by Professor Anne E. Monius of Harvard Divinity School started in the fall session of last year (August 30, 2017). 

“The Indian epics have long and complex narratives that speak of virtually every aspect of human experience… Scholarly interest in the Mahabharata has recently focused on the complexities of dharma or ethics in the text.” The Indian government plans to inculcate ‘good values’in the country’s future business leaders through mandating a new course — “Indian ethos and business ethics” as a part of the B-School syllabus that draws from religious texts as well as Kautilya’s Arthashastra. This will be a part of the curriculum for the master’s degree and postgraduate diplomas in business management. As per the course outline, the numerous scams and cons in Indian businesses could be ascribed to the lack of moral scruples, a condition the course seeks to rectify.

On the book cover

Ganga, Draupadi, Kunti, Gandhari, Satyavati and Amba were at the centre of cataclysmic events in the Mahabharata, and that makes them a favourite of mythological and fictional authors. Draupadi has been picked as a muse by several authors of English and regional languages. Take for instance Mahashewata Devi’s short story Draupadi, Chitra Banerjee Divakaruni,’s The Palace of Illusions, Veerappa Moily’s The Flaming Tresses of Draupadi, Trisha Das’s Ms Draupadi Kuru. While the subject remains the same, the context varies and so do the treatment. 

The women characters are still looked upon for their courage.  Spirited and strong, these women have been written about as decision-makers, who also questioned men’s entitlements. Today when women’s voices are gaining strength, the mythological heroines continue to be points of reference — not as women who helplessly gave into rules made by men, but as fighters who battled oppression.  

Caught in action

The 3,500-year-old epic is replete with stories of bravery, treachery, romance and tragedy. The many elements in its narrative makes it a rich mine for storytellers, authors and dramatists. The attributes of each character are complex and each character has a story to share. Symbolism abounds, so does philosophy. In the era of silent films, Dadasaheb Phalke directed Vastraharan (1927). In 1929, German-born director Franz Osten directed A Throw of Dice and in 1920 Baburao’s film Sairandri was heavily censored for its graphic depiction of slaying of Keechak by Bhima. 

Boney Kapoor’s Hum Paanch (1980) was an adaptation of the Mahabharata. Kalyug (1981), directed by Shyam Benegal, mirrored the conflict between competing business houses. Pandavas: The Five Warriors (2000) is India’s first computer-animated film, and won the National Film Award for Best Feature Film in English. Prakash Jha directed Raajneeti in 2010, giving the Mahabharata a contemporary twist. 

In theatre, Peter Brook’s production of the Mahabharata redefined theatre 30 years ago.The nine-hours long original play was adapted into a mini-series and then into a film. Dharamveer Bharti’s Andha Yug has been performed by illustrious actors of the theatre world. Not to forget, the immense impact that BR Chopra’s ‘Mahabharata’ had on tele-viewers in 1988. The Mahabharata is a vital component in puppet and shadow theatre in India as well as South-East Asia.

Making a buzz is Bollywood’s magnum opus The Mahabharata, billed to be India’s biggest ever film with an investment of Rs 1,000 crore. Scheduled for a 2020 release, it is touted to be a multi-lingual production with many Bollywood A-listers playing key roles. 

Seems like we can’t have enough of the epic, ever. 


Artists’ Interpretation

The Mahabharata’s vast magnitude and dramatic quotient has inspired many new representations. It has been interpreted on the canvas in Pahari style, Islamic art, Rajput and Mughal style. Emperor Akbar had the Mahabharata translated into Persian, which is held to be one of the most beautifully illustrated books in the world.

The Mahabharata has inspired great artists like Raja Ravi Verma (popular for his portrayal of scenes from the epic sagas), MF Husain (The Mahabharata series and the Draupadi paintings) Jamini Roy, one of India’s first modernist painters, to name only a few. Every era has witnessed fresh interpretations as artists blended the past with their vision and brushstrokes. The hyper-realistic representation of the epic characters by a young Gurugram artist Jayesh Joshi has been making news. His works show that even heroes are vulnerable and have to survive the odds.

Mukesh Singh, an illustrator, has presented the battle of Kurukshetra in cyber punk style. 18 Days, a graphic novel in collaboration with Scottish playwright Grant Morrison depict the epic in contemporary medium. The art has added new dimensions to the most written-about battle.

Italian painter, GiampaoloTomassetti, fascinated by the epic, studied it meticulously for five years and then lent colours to breathtaking paintings.

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