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The Mahabharata of Krishna Dwaipayana Vyasa, Volume 1 by or: Kisari Mohan Ganguli

O >> or: Kisari Mohan Ganguli >> The Mahabharata of Krishna Dwaipayana Vyasa, Volume 1



The Mahabharata

of

Krishna-Dwaipayana Vyasa

BOOK 1

ADI PARVA

Translated into English Prose from the Original Sanskrit Text

by

Kisari Mohan Ganguli

[1883-1896]

Scanned at sacred-texts.com, 2003. Proofed at Distributed Proofing,
Juliet Sutherland, Project Manager. Additional proofing and formatting at
sacred-texts.com, by J. B. Hare.



TRANSLATOR'S PREFACE

The object of a translator should ever be to hold the mirror upto his
author. That being so, his chief duty is to represent so far as
practicable the manner in which his author's ideas have been expressed,
retaining if possible at the sacrifice of idiom and taste all the
peculiarities of his author's imagery and of language as well. In regard
to translations from the Sanskrit, nothing is easier than to dish up
Hindu ideas, so as to make them agreeable to English taste. But the
endeavour of the present translator has been to give in the following
pages as literal a rendering as possible of the great work of Vyasa. To
the purely English reader there is much in the following pages that will
strike as ridiculous. Those unacquainted with any language but their own
are generally very exclusive in matters of taste. Having no knowledge of
models other than what they meet with in their own tongue, the standard
they have formed of purity and taste in composition must necessarily be a
narrow one. The translator, however, would ill-discharge his duty, if for
the sake of avoiding ridicule, he sacrificed fidelity to the original. He
must represent his author as he is, not as he should be to please the
narrow taste of those entirely unacquainted with him. Mr. Pickford, in
the preface to his English translation of the Mahavira Charita, ably
defends a close adherence to the original even at the sacrifice of idiom
and taste against the claims of what has been called 'Free Translation,'
which means dressing the author in an outlandish garb to please those to
whom he is introduced.

In the preface to his classical translation of Bhartrihari's Niti Satakam
and Vairagya Satakam, Mr. C.H. Tawney says, "I am sensible that in the
present attempt I have retained much local colouring. For instance, the
ideas of worshipping the feet of a god of great men, though it frequently
occurs in Indian literature, will undoubtedly move the laughter of
Englishmen unacquainted with Sanskrit, especially if they happen to
belong to that class of readers who revel their attention on the
accidental and remain blind to the essential. But a certain measure of
fidelity to the original even at the risk of making oneself ridiculous,
is better than the studied dishonesty which characterises so many
translations of oriental poets."

We fully subscribe to the above although, it must be observed, the
censure conveyed to the class of translators last indicated is rather
undeserved, there being nothing like a 'studied dishonesty' in their
efforts which proceed only from a mistaken view of their duties and as
such betray only an error of the head but not of the heart. More than
twelve years ago when Babu Pratapa Chandra Roy, with Babu Durga Charan
Banerjee, went to my retreat at Seebpore, for engaging me to translate
the Mahabharata into English, I was amazed with the grandeur of the
scheme. My first question to him was,--whence was the money to come,
supposing my competence for the task. Pratapa then unfolded to me the
details of his plan, the hopes he could legitimately cherish of
assistance from different quarters. He was full of enthusiasm. He showed
me Dr. Rost's letter, which, he said, had suggested to him the
undertaking. I had known Babu Durga Charan for many years and I had the
highest opinion of his scholarship and practical good sense. When he
warmly took Pratapa's side for convincing me of the practicability of the
scheme, I listened to him patiently. The two were for completing all
arrangements with me the very day. To this I did not agree. I took a
week's time to consider. I consulted some of my literary friends,
foremost among whom was the late lamented Dr. Sambhu C. Mookherjee. The
latter, I found, had been waited upon by Pratapa. Dr. Mookherjee spoke to
me of Pratapa as a man of indomitable energy and perseverance. The result
of my conference with Dr. Mookherjee was that I wrote to Pratapa asking
him to see me again. In this second interview estimates were drawn up,
and everything was arranged as far as my portion of the work was
concerned. My friend left with me a specimen of translation which he had
received from Professor Max Muller. This I began to study, carefully
comparing it sentence by sentence with the original. About its literal
character there could be no doubt, but it had no flow and, therefore,
could not be perused with pleasure by the general reader. The translation
had been executed thirty years ago by a young German friend of the great
Pundit. I had to touch up every sentence. This I did without at all
impairing faithfulness to the original. My first 'copy' was set up in
type and a dozen sheets were struck off. These were submitted to the
judgment of a number of eminent writers, European and native. All of
them, I was glad to see, approved of the specimen, and then the task of
translating the Mahabharata into English seriously began.

Before, however, the first fasciculus could be issued, the question as to
whether the authorship of the translation should be publicly owned,
arose. Babu Pratapa Chandra Roy was against anonymity. I was for it. The
reasons I adduced were chiefly founded upon the impossibility of one
person translating the whole of the gigantic work. Notwithstanding my
resolve to discharge to the fullest extent the duty that I took up, I
might not live to carry it out. It would take many years before the end
could be reached. Other circumstances than death might arise in
consequence of which my connection with the work might cease. It could
not be desirable to issue successive fasciculus with the names of a
succession of translators appearing on the title pages. These and other
considerations convinced my friend that, after all, my view was correct.
It was, accordingly, resolved to withhold the name of the translator. As
a compromise, however, between the two views, it was resolved to issue
the first fasciculus with two prefaces, one over the signature of the
publisher and the other headed--'Translator's Preface.' This, it was
supposed, would effectually guard against misconceptions of every kind.
No careful reader would then confound the publisher with the author.

Although this plan was adopted, yet before a fourth of the task had been
accomplished, an influential Indian journal came down upon poor Pratapa
Chandra Roy and accused him openly of being a party to a great literary
imposture, viz., of posing before the world as the translator of Vyasa's
work when, in fact, he was only the publisher. The charge came upon my
friend as a surprise, especially as he had never made a secret of the
authorship in his correspondence with Oriental scholars in every part of
the world. He promptly wrote to the journal in question, explaining the
reasons there were for anonymity, and pointing to the two prefaces with
which the first fasciculus had been given to the world. The editor
readily admitted his mistake and made a satisfactory apology.

Now that the translation has been completed, there can no longer be any
reason for withholding the name of the translator. The entire translation
is practically the work of one hand. In portions of the Adi and the Sabha
Parvas, I was assisted by Babu Charu Charan Mookerjee. About four forms
of the Sabha Parva were done by Professor Krishna Kamal Bhattacharya, and
about half a fasciculus during my illness, was done by another hand. I
should however state that before passing to the printer the copy received
from these gentlemen I carefully compared every sentence with the
original, making such alterations as were needed for securing a
uniformity of style with the rest of the work.

I should here observe that in rendering the Mahabharata into English I
have derived very little aid from the three Bengali versions that are
supposed to have been executed with care. Every one of these is full of
inaccuracies and blunders of every description. The Santi in particular
which is by far the most difficult of the eighteen Parvas, has been made
a mess of by the Pundits that attacked it. Hundreds of ridiculous
blunders can be pointed out in both the Rajadharma and the Mokshadharma
sections. Some of these I have pointed out in footnotes.

I cannot lay claim to infallibility. There are verses in the Mahabharata
that are exceedingly difficult to construe. I have derived much aid from
the great commentator Nilakantha. I know that Nilakantha's authority is
not incapable of being challenged. But when it is remembered that the
interpretations given by Nilakantha came down to him from preceptors of
olden days, one should think twice before rejecting Nilakantha as a guide.

About the readings I have adopted, I should say that as regards the first
half of the work, I have generally adhered to the Bengal texts; as
regards the latter half, to the printed Bombay edition. Sometimes
individual sections, as occurring in the Bengal editions, differ widely,
in respect of the order of the verses, from the corresponding ones in the
Bombay edition. In such cases I have adhered to the Bengal texts,
convinced that the sequence of ideas has been better preserved in the
Bengal editions than the Bombay one.

I should express my particular obligations to Pundit Ram Nath Tarkaratna,
the author of 'Vasudeva Vijayam' and other poems, Pundit Shyama Charan
Kaviratna, the learned editor of Kavyaprakasha with the commentary of
Professor Mahesh Chandra Nayaratna, and Babu Aghore Nath Banerjee, the
manager of the Bharata Karyalaya. All these scholars were my referees on
all points of difficulty. Pundit Ram Nath's solid scholarship is known to
them that have come in contact with him. I never referred to him a
difficulty that he could not clear up. Unfortunately, he was not always
at hand to consult. Pundit Shyama Charan Kaviratna, during my residence
at Seebpore, assisted me in going over the Mokshadharma sections of the
Santi Parva. Unostentatious in the extreme, Kaviratna is truly the type
of a learned Brahman of ancient India. Babu Aghore Nath Banerjee also has
from time to time, rendered me valuable assistance in clearing my
difficulties.

Gigantic as the work is, it would have been exceedingly difficult for me
to go on with it if I had not been encouraged by Sir Stuart Bayley, Sir
Auckland Colvin, Sir Alfred Croft, and among Oriental scholars, by the
late lamented Dr. Reinhold Rost, and Mons. A. Barth of Paris. All these
eminent men know from the beginning that the translation was proceeding
from my pen. Notwithstanding the enthusiasm, with which my poor friend,
Pratapa Chandra Roy, always endeavoured to fill me. I am sure my energies
would have flagged and patience exhausted but for the encouraging words
which I always received from these patrons and friends of the enterprise.

Lastly, I should name my literary chief and friend, Dr. Sambhu C.
Mookherjee. The kind interest he took in my labours, the repeated
exhortations he addressed to me inculcating patience, the care with which
he read every fasciculus as it came out, marking all those passages which
threw light upon topics of antiquarian interest, and the words of praise
he uttered when any expression particularly happy met his eyes, served to
stimulate me more than anything else in going on with a task that
sometimes seemed to me endless.

Kisari Mohan Ganguli

Calcutta



THE MAHABHARATA

ADI PARVA

SECTION I

Om! Having bowed down to Narayana and Nara, the most exalted male being,
and also to the goddess Saraswati, must the word Jaya be uttered.

Ugrasrava, the son of Lomaharshana, surnamed Sauti, well-versed in the
Puranas, bending with humility, one day approached the great sages of
rigid vows, sitting at their ease, who had attended the twelve years'
sacrifice of Saunaka, surnamed Kulapati, in the forest of Naimisha. Those
ascetics, wishing to hear his wonderful narrations, presently began to
address him who had thus arrived at that recluse abode of the inhabitants
of the forest of Naimisha. Having been entertained with due respect by
those holy men, he saluted those Munis (sages) with joined palms, even
all of them, and inquired about the progress of their asceticism. Then
all the ascetics being again seated, the son of Lomaharshana humbly
occupied the seat that was assigned to him. Seeing that he was
comfortably seated, and recovered from fatigue, one of the Rishis
beginning the conversation, asked him, 'Whence comest thou, O lotus-eyed
Sauti, and where hast thou spent the time? Tell me, who ask thee, in
detail.'

Accomplished in speech, Sauti, thus questioned, gave in the midst of that
big assemblage of contemplative Munis a full and proper answer in words
consonant with their mode of life.

"Sauti said, 'Having heard the diverse sacred and wonderful stories which
were composed in his Mahabharata by Krishna-Dwaipayana, and which were
recited in full by Vaisampayana at the Snake-sacrifice of the high-souled
royal sage Janamejaya and in the presence also of that chief of Princes,
the son of Parikshit, and having wandered about, visiting many sacred
waters and holy shrines, I journeyed to the country venerated by the
Dwijas (twice-born) and called Samantapanchaka where formerly was fought
the battle between the children of Kuru and Pandu, and all the chiefs of
the land ranged on either side. Thence, anxious to see you, I am come
into your presence. Ye reverend sages, all of whom are to me as Brahma;
ye greatly blessed who shine in this place of sacrifice with the
splendour of the solar fire: ye who have concluded the silent meditations
and have fed the holy fire; and yet who are sitting--without care, what,
O ye Dwijas (twice-born), shall I repeat, shall I recount the sacred
stories collected in the Puranas containing precepts of religious duty
and of worldly profit, or the acts of illustrious saints and sovereigns
of mankind?"

"The Rishi replied, 'The Purana, first promulgated by the great Rishi
Dwaipayana, and which after having been heard both by the gods and the
Brahmarshis was highly esteemed, being the most eminent narrative that
exists, diversified both in diction and division, possessing subtile
meanings logically combined, and gleaned from the Vedas, is a sacred
work. Composed in elegant language, it includeth the subjects of other
books. It is elucidated by other Shastras, and comprehendeth the sense of
the four Vedas. We are desirous of hearing that history also called
Bharata, the holy composition of the wonderful Vyasa, which dispelleth
the fear of evil, just as it was cheerfully recited by the Rishi
Vaisampayana, under the direction of Dwaipayana himself, at the
snake-sacrifice of Raja Janamejaya?'

"Sauti then said, 'Having bowed down to the primordial being Isana, to
whom multitudes make offerings, and who is adored by the multitude; who
is the true incorruptible one, Brahma, perceptible, imperceptible,
eternal; who is both a non-existing and an existing-non-existing being;
who is the universe and also distinct from the existing and non-existing
universe; who is the creator of high and low; the ancient, exalted,
inexhaustible one; who is Vishnu, beneficent and the beneficence itself,
worthy of all preference, pure and immaculate; who is Hari, the ruler of
the faculties, the guide of all things moveable and immoveable; I will
declare the sacred thoughts of the illustrious sage Vyasa, of marvellous
deeds and worshipped here by all. Some bards have already published this
history, some are now teaching it, and others, in like manner, will
hereafter promulgate it upon the earth. It is a great source of
knowledge, established throughout the three regions of the world. It is
possessed by the twice-born both in detailed and compendious forms. It is
the delight of the learned for being embellished with elegant
expressions, conversations human and divine, and a variety of poetical
measures.

In this world, when it was destitute of brightness and light, and
enveloped all around in total darkness, there came into being, as the
primal cause of creation, a mighty egg, the one inexhaustible seed of all
created beings. It is called Mahadivya, and was formed at the beginning
of the Yuga, in which we are told, was the true light Brahma, the eternal
one, the wonderful and inconceivable being present alike in all places;
the invisible and subtile cause, whose nature partaketh of entity and
non-entity. From this egg came out the lord Pitamaha Brahma, the one only
Prajapati; with Suraguru and Sthanu. Then appeared the twenty-one
Prajapatis, viz., Manu, Vasishtha and Parameshthi; ten Prachetas, Daksha,
and the seven sons of Daksha. Then appeared the man of inconceivable
nature whom all the Rishis know and so the Viswe-devas, the Adityas, the
Vasus, and the twin Aswins; the Yakshas, the Sadhyas, the Pisachas, the
Guhyakas, and the Pitris. After these were produced the wise and most
holy Brahmarshis, and the numerous Rajarshis distinguished by every noble
quality. So the water, the heavens, the earth, the air, the sky, the
points of the heavens, the years, the seasons, the months, the
fortnights, called Pakshas, with day and night in due succession. And
thus were produced all things which are known to mankind.

And what is seen in the universe, whether animate or inanimate, of
created things, will at the end of the world, and after the expiration of
the Yuga, be again confounded. And, at the commencement of other Yugas,
all things will be renovated, and, like the various fruits of the earth,
succeed each other in the due order of their seasons. Thus continueth
perpetually to revolve in the world, without beginning and without end,
this wheel which causeth the destruction of all things.

The generation of Devas, in brief, was thirty-three thousand,
thirty-three hundred and thirty-three. The sons of Div were Brihadbhanu,
Chakshus, Atma Vibhavasu, Savita, Richika, Arka, Bhanu, Asavaha, and
Ravi. Of these Vivaswans of old, Mahya was the youngest whose son was
Deva-vrata. The latter had for his son, Su-vrata who, we learn, had three
sons,--Dasa-jyoti, Sata-jyoti, and Sahasra-jyoti, each of them producing
numerous offspring. The illustrious Dasa-jyoti had ten thousand,
Sata-jyoti ten times that number, and Sahasra-jyoti ten times the number
of Sata-jyoti's offspring. From these are descended the family of the
Kurus, of the Yadus, and of Bharata; the family of Yayati and of
Ikshwaku; also of all the Rajarshis. Numerous also were the generations
produced, and very abundant were the creatures and their places of abode.
The mystery which is threefold--the Vedas, Yoga, and Vijnana Dharma,
Artha, and Kama--also various books upon the subject of Dharma, Artha,
and Kama; also rules for the conduct of mankind; also histories and
discourses with various srutis; all of which having been seen by the
Rishi Vyasa are here in due order mentioned as a specimen of the book.

The Rishi Vyasa published this mass of knowledge in both a detailed and
an abridged form. It is the wish of the learned in the world to possess
the details and the abridgement. Some read the Bharata beginning with the
initial mantra (invocation), others with the story of Astika, others with
Uparichara, while some Brahmanas study the whole. Men of learning display
their various knowledge of the institutes in commenting on the
composition. Some are skilful in explaining it, while others, in
remembering its contents.

The son of Satyavati having, by penance and meditation, analysed the
eternal Veda, afterwards composed this holy history, when that learned
Brahmarshi of strict vows, the noble Dwaipayana Vyasa, offspring of
Parasara, had finished this greatest of narrations, he began to consider
how he might teach it to his disciples. And the possessor of the six
attributes, Brahma, the world's preceptor, knowing of the anxiety of the
Rishi Dwaipayana, came in person to the place where the latter was, for
gratifying the saint, and benefiting the people. And when Vyasa,
surrounded by all the tribes of Munis, saw him, he was surprised; and,
standing with joined palms, he bowed and ordered a seat to be brought.
And Vyasa having gone round him who is called Hiranyagarbha seated on
that distinguished seat stood near it; and being commanded by Brahma
Parameshthi, he sat down near the seat, full of affection and smiling in
joy. Then the greatly glorious Vyasa, addressing Brahma Parameshthi,
said, "O divine Brahma, by me a poem hath been composed which is greatly
respected. The mystery of the Veda, and what other subjects have been
explained by me; the various rituals of the Upanishads with the Angas;
the compilation of the Puranas and history formed by me and named after
the three divisions of time, past, present, and future; the determination
of the nature of decay, fear, disease, existence, and non-existence, a
description of creeds and of the various modes of life; rule for the four
castes, and the import of all the Puranas; an account of asceticism and
of the duties of a religious student; the dimensions of the sun and moon,
the planets, constellations, and stars, together with the duration of the
four ages; the Rik, Sama and Yajur Vedas; also the Adhyatma; the sciences
called Nyaya, Orthoephy and Treatment of diseases; charity and
Pasupatadharma; birth celestial and human, for particular purposes; also
a description of places of pilgrimage and other holy places of rivers,
mountains, forests, the ocean, of heavenly cities and the kalpas; the art
of war; the different kinds of nations and languages: the nature of the
manners of the people; and the all-pervading spirit;--all these have been
represented. But, after all, no writer of this work is to be found on
earth.'

"Brahma said. 'I esteem thee for thy knowledge of divine mysteries,
before the whole body of celebrated Munis distinguished for the sanctity
of their lives. I know thou hast revealed the divine word, even from its
first utterance, in the language of truth. Thou hast called thy present
work a poem, wherefore it shall be a poem. There shall be no poets whose
works may equal the descriptions of this poem, even, as the three other
modes called Asrama are ever unequal in merit to the domestic Asrama. Let
Ganesa be thought of, O Muni, for the purpose of writing the poem.'

"Sauti said, 'Brahma having thus spoken to Vyasa, retired to his own
abode. Then Vyasa began to call to mind Ganesa. And Ganesa, obviator of
obstacles, ready to fulfil the desires of his votaries, was no sooner
thought of, than he repaired to the place where Vyasa was seated. And
when he had been saluted, and was seated, Vyasa addressed him thus, 'O
guide of the Ganas! be thou the writer of the Bharata which I have formed
in my imagination, and which I am about to repeat."

"Ganesa, upon hearing this address, thus answered, 'I will become the
writer of thy work, provided my pen do not for a moment cease writing."
And Vyasa said unto that divinity, 'Wherever there be anything thou dost
not comprehend, cease to continue writing.' Ganesa having signified his
assent, by repeating the word Om! proceeded to write; and Vyasa began;
and by way of diversion, he knit the knots of composition exceeding
close; by doing which, he dictated this work according to his engagement.

I am (continued Sauti) acquainted with eight thousand and eight hundred
verses, and so is Suka, and perhaps Sanjaya. From the mysteriousness of
their meaning, O Muni, no one is able, to this day, to penetrate those
closely knit difficult slokas. Even the omniscient Ganesa took a moment
to consider; while Vyasa, however, continued to compose other verses in
great abundance.

The wisdom of this work, like unto an instrument of applying collyrium,
hath opened the eyes of the inquisitive world blinded by the darkness of
ignorance. As the sun dispelleth the darkness, so doth the Bharata by its
discourses on religion, profit, pleasure and final release, dispel the
ignorance of men. As the full-moon by its mild light expandeth the buds
of the water-lily, so this Purana, by exposing the light of the Sruti
hath expanded the human intellect. By the lamp of history, which
destroyeth the darkness of ignorance, the whole mansion of nature is
properly and completely illuminated.

This work is a tree, of which the chapter of contents is the seed; the
divisions called Pauloma and Astika are the root; the part called
Sambhava is the trunk; the books called Sabha and Aranya are the roosting
perches; the books called Arani is the knitting knots; the books called
Virata and Udyoga the pith; the book named Bhishma, the main branch; the
book called Drona, the leaves; the book called Karna, the fair flowers;
the book named Salya, their sweet smell; the books entitled Stri and
Aishika, the refreshing shade; the book called Santi, the mighty fruit;
the book called Aswamedha, the immortal sap; the denominated
Asramavasika, the spot where it groweth; and the book called Mausala, is
an epitome of the Vedas and held in great respect by the virtuous
Brahmanas. The tree of the Bharata, inexhaustible to mankind as the
clouds, shall be as a source of livelihood to all distinguished poets."

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