MAHABHARATAM: The story of the internal conflict
Translation of
an article (in two parts) written by poojya Sandeepanandgiri published in
Mathrubhumi (22st and 22nd Jan 2012)
The great war of Mahabharata; has it really happened? (Is it
a Historical fact or sheer mythology?) Till recently this was never a moot point, not
even a subject of debate. The case is
not so today. An explanation in this regard has become the need of the hour as
lot of misunderstanding and misgivings have arisen lately.
|
Sandeepananda Giri |
Mahabharata is a
store house, an ocean of stories; of equitability, fairness and above all
righteousness. It is a great laboratory of Dharma and Adharma. The whole universe from Sun to mere insect has
a role to play in this quite unique and great saga. The philosophical ideals of
this great country have made the story into one with eternal values and
principles. How can anyone discuss it as mundane sibling revelry for a piece of
land? How anyone, who has dwelled deeply into this great saga can ever agree
with those who insist that it has physically happened in the way it is
depicted.
There is a new school who wants to prove and disseminate a
canard that Geeta propagates violence because everything explained in the
stories had happened in real life and it (Geeta) justifies it. One should see
through their intentions; which erroneously propose to create that killer instinct
in the human psyche.
Now let it be reiterated at the onset; the war
of Mahabharata is not an external battle; instead, it is an internal one.
Our history as well as mythology explains about numerous battles that had taken
place in this country. Man has fought many a war including two world-wars. Here
what should be understood is that this war in question is not such a war.
Mahabharata and Ramayana are bedrock of Indian culture and
ethos. Vedas were created even before that. There was no religion called
Hinduism in those days. Vedas were much above the level of a common mans
understanding. Hence Vyasa created Mahabharata in the form of a story. It is a treasure
trove of philosophy and statecraft and that is why Mahabharata has risen to an
epic standard.
Asmin
itiha aaste iti itihasa
This contains “itiha”
(values) hence it is “Itihasa” ( a
Great epic)
Because of its
greatness and since it contains valuable knowledge it is called Mahabharata.
The knowledge of Upanishad is visible and shining in this. It is explained as
follows.
Natatra
suryo bhati nachandratarakam
Nemaa
vidyuto bhandi kutofyamagni:
Tameva
bhandamanubhati sarvam
Tasya
bhasaa sarvamidam vibhati.
(5.15 2.11
6.14 )
Neither the sun nor the moon renders it brilliant; the stars
or the fire can never illuminate it; In fact all these shine because IT blazes.
Here this divine glow represents the knowledge. Krishnadwaipayanan who later became well
known as Veda Vyasa or the editor of Veda is the same who composed the
Mahabharata as well. His aim was to simplify and explain the Dharma of
Upanishad which resulted in Mahabharata.
There is a Mantra in Keno-Upanishad explaining Brahman.
Yachakshusha
napasyati
Yeenachakshum
shipasyati
Tadeva
bramatwam vidhi
Nedam
yadidamupasate (1.7)
“Understand; Brahman is that invisible divine energy which
makes the vision possible”.
This great Rishi reiterates with firmness and courage that:
“Anything which
remained alien to self and worshipped on conditionality never is Brahman”
Now this is a very important statement. By this he is
pointing towards the limitations of idol worship and temple culture. He subtly and with care persuades the common
man to come out of this kind of faulty worships. This large hearted great soul
has presented (chapter three and four) and explained the secret meaning of this
Mantra dramatically, by narrating a great war between Devas and Asuras and the
man’s eternal search for knowledge using a technique of allegory.
He narrates the story by depicting (allegorically) the Devas
as the powers that controls the sense-organs and their leader Indra as the
human conceit. The Asuras represents the base instincts of man.
More than five thousand years ago through Upanishads the
great Indian rishis have proved that realisation of God is impossible through
sense-organs. What Vyasa is trying to
drive home through the story of Mahabharata with Geeta as its epicentre; is also
precisely this. He is simply creating a path of self-realisation in an easy
format.
The characters in this have elevated the Indian Spirituality
to its new heights. All those seekers who have studied and understood The Geeta
and the Mahabharata have very well understood this aspect.
Look at the explanation Vyasa himself gives for composing these
Great Epics.
Katha
imaste kathita mahiyasam
Vithaya
lokeshu yasha: pareyusham
Vijyanaviragyaviveshaya
vibho:
Vachovibhutirnna
tu paramartyam.
This is a story. It is being told with the sole aim of creating
knowledge through asceticism (solemnity).
Before venturing to create Mahabharata Vyasa in his prayer
to the Lord, says:
“I have a story in my mind; describing different kinds of
people from different walks of life, their varied food habits and their way of
life; a story of great rivers and mountains. So kindly bestow me with a person
who can best transcribe it”. The lord
directs him To Ganapati who according to the Lord is the best. Now accordingly when approached, a debate
takes place between Ganapati and Vyasa. Ganesa places the condition that the
narration once started should be non-stop; and Vyasa demands that he should
write nothing without understanding it.
Here, “understanding” is a password (pointer).
Vyasa has deliberately brought this story (the story of this debate between
Ganapati and Vyasa) obviously an apocryphal one, to forewarn those who seek to
understand Mahabharata in its real sense; about its allegoric nature. Westerners miss this password; whereas the eastern
psyche has understood it.
Mahabharata which
instructs not to write without understanding also has another language- the
language of asceticism or solemnity. In olden days scholars used to tell things
symbolically. For this they used the language of asceticism. The images of all
Hindu gods are symbolic.
One may think that the image of Ganapati is rather strange
and unusual if not queer. Is there any
point in insisting that such a person does exist? The goddess Saraswati is
found sitting inside a lotus! If a child asks the obvious and pertinent question
that “won’t the goddess be drowned if she sits on the lotus” the parent is duty-bound
to explain the symbolism behind that depiction.
When it is pointed out that Krishna had sixteen thousand and
eight consorts; the majority of Hindus today suffer a kind of discomfiture
because they are unable to explain the essence it carries. Ignorance of the principle
and the symbolism shows that the modern time Hindu has lost the language of sobriety
or asceticism.
Today this language makes us uncomfortable. We fail to accept
that it does not possess any literal meanings. It tells everything figuratively.
They prefer to keep such renowned and illustrious philosophies under the wraps.
Hence it is rather amusing and is always welcome to argue notionally with these
people who are relentless in waging a War (sic) historically.
Swamy Vivekananda has said -“It is my resolve to bring out
the gems of our spiritual understanding embedded in these great books. Presently
they are under the custody of a few. They
are hidden away in the forests and monasteries.......for eons they are lying
unused and unattended to, in the guise of difficult Sanskrit. I wish to bring them out and spread it among
the common man.”
These words of a great humanist who wanted to save his
fellow-men from the darkness of evil rituals and show him the path of eternal
reality acquires added importance lately.
Vyasa and other monks were very adept and famous for
presenting spiritual secrets in the form of stories and fables. Look at how
deftly he conjures situations.
A powerful background was created before presenting the
Geeta. Looming war clouds and the exigency of a great battle was spellbinding. And with this as a perfect backdrop, he had
dramatically presented Bhagavat Geeta which is the embodiment of all Upanishads,
which in turn is the treasure trove of all the spiritual secrets. The
characters flashing in the back ground, their birth secrets, their names, even
their physical descriptions are all symbolic.
The Pandavas (five brothers)
represent the five elements. A
conjugation takes place between a woman and the Sun (Surya), Air (Vayu), and
Indra (The lord of Devas). Kunti’s is such a joining. Karna, who had innate armour,
is the son of Surya (Sun). Bhima was sired by the air (Vayu) and Arjuna by
Indra (the lord of Devas). Nakula and Sahadeva were born in turn to Madhri from
Aswanideva who personified the Earth (Bhumi)-What kind of characters are they?
People who claims paternity from the Sun and the Moon! Take the case of
Kauravas; they were not even born out of a womb! What a weird story it is! The language of
asceticism is the only recourse to explain all these.
If one fails to understand the logic and the doctrine of
these, he will end up with the conclusion that the great Epic Mahabharata is a
weird, unbelievable story of a few greedy uncouth people. Do you think this is
what the great scholar like Vyasa wanted to convey ultimately? Not clearly
understanding the essence of these principles makes the other religionists to
ridicule Hinduism.
The five elements are characters here; the Sun
the moon the rivers and mountains; all are vibrant actors in this. Even with an
insect Vyasa converses. Looking at his magnum opus which is a great ocean of stories
Vyasa himself proudly says:
Yadihasti tadanyatra
Yanne
hasti nakarhichit’
“What is here may be
present elsewhere; but what is not here will not be anywhere else.
(To be continued)