mahabharata, book 2 [trans. wilmot] (nyu, 2006)

8/9/2019 Mahabharata, Book 2 [Trans. Wilmot] (NYU, 2006)

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THE CLAY SANSKRIT LIBRARY FOUNDED BY JOHN & JENNIFER CLAY

GENERAL EDITOR

RICHARD GOMBRICH

EDITED BY

ISABELLE ONIANSSOMADEVA VASUDEVA

WWW.CLAYSANSKRITLIBRARY.COM WWW.NYUPRESS.ORG


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Copyright c by the CSL. All rights reserved.

First Edition

The Clay Sanskrit Library is co-published by New York University Pressand the JJC Foundation.

Further information about this volume

and the rest of the Clay Sanskrit Library is available on the following websites: www.claysanskritlibrary.com

www.nyupress.org.

ISBN- : - - - - (cloth : alk. paper)ISBN- : - - - (cloth : alk. paper)

Artwork by Robert Beer.Typeset in Adobe Garamond at 10.25 : 12.3+pt.

Printed in Great Britain by St Edmundsbury Press Ltd,Bury St Edmunds, Suffolk, on acid-free paper.

Bound by Hunter & Foulis, Edinburgh, Scotland.


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Mah ̄abh ̄arata

Book Two

The Great Hall

TRANSLATED BY

PAUL WILMOT

NEW YORK UNIVERSITY PRESS

JJC FOUNDATION


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Library of Congress Cataloging-in-Publication Data Mahābhārata. Sabh̄aparvan. English & Sanskrit.

Mahabharata. Book two, “The great hall.”edited and translated by Paul Wilmot.p. cm. – (The Clay Sanskrit library)

In English and Sanskrit (romanized) on facing pages;includes translation from Sanskrit.Includes bibliographical references and index.

ISBN- : - - - - (cloth : alk. paper)ISBN- : - - - (cloth : alk. paper)

.Epic poetry, Sanskrit–Translations into English.I. Wilmot, Paul.

II. Title. III. Series.BL . .S E . ’ –dc


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Contents

Sanskrit alphabetical order CSL conventions

T G H

Introduction

Synopsis

Bibliography

– Greatest Of All Halls – The Celestial Mansions of the World

Guardians – Preparations for the Sacrice – The Fall of Jara·sandha – Conquest of the World – The Royal Consecration Sacrice – Guest-Gift – The Slaying of Shishu·pala

– Dice Game

– Playing for Exile

Notes

Proper Names and Epithets Index

A sandhi grid is printed on the inside of the back cover


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Vowels: a ¯ a i ¯ ı u ¯ u r . ¯ r . l . ¯ l . e ai o au m. h.Gutturals: k kh g gh ṅPalatals: c ch j jh ˜ nRetroex: t . t .h d . d . h n.Dentals: t th d dh nLabials: p ph b bh mSemivowels: y r l v Spirants: ´ s s . s h

a but¯ a, ˆ a f a theri si t¯ ı, ˆ ı f ee u put

¯ u,ˆ u boor . vocalicr ,Americanpur dy or English pre tty

¯ r . lengthened r .l . vocalic l , able e, ˆ e, ¯ e ma de, esp. in Welsh pro-

nunciationai bi teo, ˆ o, ¯ o rope, esp. Welsh pronun-

ciation; Italian soloau soundm. anusv ̄ ara nasalizesthepre-

ceding vowelh. visarga , a voiceless aspira-

tion (resembling English

h),orlikeScottishloch, oran aspiration with a faintechoing of the preceding

vowel so that taih. is pro-nounced taihi

k luck kh blockhead g g o

gh bi gheadṅ a ngerc chillch matchhead j j og jh aspirated j , hedgehog ˜ n ca ny ont . retroex t , t ry (with the

tip of tongue turned upto touch the hard palate)

t .h same as the preceding butaspirated

d . retroex d (with the tipof tongue turned up totouch the hard palate)

d . h same as the preceding butaspirated

n. retroex n (with the tip


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not alter the sandhi or the scansion. Proper names are capitalized. MostSanskrit metres have four “feet” (p̄ ada): where possible we print thecommon ´ sloka metre on two lines. In the Sanskrit text, we use French

Guillemets (e.g. «kva sam. cic ̄ ırs .uh. ?») instead of English quotation marks(e.g. “Where are you off to?”) to avoid confusion with the apostrophesused for vowel elision in sandhi .

Sanskrit presents the learner with a challenge:sandhi (“euphonic com-bination”). Sandhi means that when two words are joined in connectedspeech or writing (which in Sanskrit reects speech), the last letter (oreven letters) of the rst word often changes; compare the way we pro-nounce “the” in “the beginning” and “the end.”

In Sanskrit the rst letter of the second word may also change; and if both the last letter of the rst word and the rst letter of the second arevowels, they may fuse. This has a parallel in English: a nasal consonant isinserted between two vowels that would otherwise coalesce: “a pear” and“an apple.” Sanskrit vowel fusion may produce ambiguity. The chart atthe back of each book gives the full sandhi system.

Fortunately it is not necessary to know these changes in order to start

reading Sanskrit. For that, what is important is to know the form of thesecond word without sandhi (pre-sandhi ), so that it can be recognizedor looked up in a dictionary. Therefore we are printing Sanskrit with a system of punctuation that will indicate, unambiguously, the originalform of the second word, i.e., the form without sandhi . Such sandhi mostly concerns the fusion of two vowels.

In Sanskrit, vowels may be short or long and are written diff erently accordingly. We follow the general convention that a vowel with nomark above it is short. Other books mark a long vowel either with a bar called a macron (̄ a ) or with a circumex (̂ a ). Our system uses themacron, except that for initial vowels in sandhi we use a circumex to indicate that originally the vowel was short, or the shorter of twopossibilities (e rather than ai , o rather than au). When we print initial ˆ a , before sandhi that vowel was a

ˆ ı or ˆ e , i ˆ u or ˆ o, uˆ ai , e ˆ au, o


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¯ a , ¯ a (i.e., the same)¯ ı, ¯ ı (i.e., the same)¯ u, ¯ u (i.e., the same)¯ e , ¯ ı¯ o, ¯ u¯ ai , ai ¯ au, au’ , before sandhi there was a vowel a

When a nal short vowel (a , i or u) has merged into a following vowel, we print ’ at the end of the word, and when a nal long vowel(¯ a , ¯ ı or ¯ u) has merged into a following vowel we print ” at the end of the word. The vast majority of these cases will concern a nal a or ¯ a .

Examples:

What before sandhi was atra asti is represented as atr’ ˆ asti atra ¯ aste atr’ ¯ aste kany ̄ a asti kany” ˆ asti kany ̄ a ¯ aste kany” ¯ aste atra iti atr’ ˆ eti kany ̄ a iti kany” ˆ eti kany ̄ a ¯ ıpsit ̄ a kany” ¯ epsit ̄ a

Finally, three other points concerning the initial letter of the sec-ond word:

( ) A word that before sandhi begins with r . (vowel), after sandhi begins with r followed by a consonant: yatha” rtu represents pre-sandhi yath̄ a r . tu.

( ) When before sandhi the previous word ends in t and the following word begins with ´ s , after sandhi the last letter of the previous word is c and the following word begins with ch: sy ̄ ac ch̄ astravit represents pre-

sandhi sy ¯ at ´ s ̄ astravit .( ) Where a word begins with h and the previous word ends with a

double consonant, this is our simplied spelling to show the pre-sandhi


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form: tad hasati is commonly written as tad dhasati , but we write tadd hasati so that the original initial letter is obvious.

We also punctuate the division of compounds (sam̄ asa ), simply by inserting a thin vertical line between words. There are words wherethe decision whether to regard them as compounds is arbitrary. Ourprinciple has been to try toguide readers to the correct dictionary entries.

Where the Deva·ńagari script reads:

Others would print:kumbhasthal̄ı raks.atu vo vik ̄ırn. asindūraren. ur dvirad̄ananasya /pra ́sāntaye vighnatama śchat.ānām. nis.t.hy ̄utabāl̄atapapallaveva //

We print:Kumbha Asthal̄ı raks.atu vo vik ̄ırn. a Asindūra Aren. ur dvirad’Āananasya pra ́sāntaye vighna Atama ́sAchat.ānām. nis.t.hy ̄uta Abāl’Āatapa Apallav” êva.

And in English:“May Ganésha’s domed forehead protect you! Streakedwithvermiliondust, it seems to be emitting the spreading rays of the rising sun topacify the teeming darkness of obstructions.”

“Nava·śahasanka and the Serpent Princess” I. by Padma·gupta


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Introduction


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M conches, ying palaces and char-iots, dazzling thrones and altars, jewel-studdedmountains, garlands of gold, mangoes and parrots, serpentsand demons, vultures and jackals, meteors and comets—allthread the shimmering tapestry of ‘The Great Hall’ (Sabh̄ a B parvan), the second book of the ‘Maha·bh́arata.’

Theoriginsofthe‘Maha·bh́arata,’ oneof India’s two greatepics, are lost in antiquity. A more or less denitive form

emerged during the fourth century

, but the story wasknown, perhaps as a ballad, more than a millennium earlier.The work is renowned for its extraordinary length, whichruns to about a hundred thousand stanzas—the equivalentof fteen Bibles. Mah̄ a means “great” in Sanskrit, as in the well-known word maharaja, “great king;” the word nds a

linguistic cousin in the Greek mega , or in the Latin magnus .Bharata rst was the name of a legendary individual, thenBh̄ arata that of a clan, and nally the word for India itself.Thus the title ‘Maha·bh́arata’ can be understood as “TheGreat Story of the Bh́aratas,” or “The Great Book of India,”or “The GreatHistory of Mankind.”Thepoem is the sourceof thousands of beliefs, legends, proverbs and teachings thatplay a part in Indian life to this day; indeed, its larger-than-life characters can even be found in modern cartoons andtelevision serials. Most importantly, perhaps, it is simply a compelling story, full of titanic battles, heroism, human weakness, brutal violence, magic, satanic hatred, intrigueand spiritual speculation. The novelist R.K. N wrotethat“althoughthisepicisatreasurehouseofvariedinterests,my own preference is the story. It is a great tale.”


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The central narrative of the ‘Maha·bh́arata’ describes thetension between two branches of a ruling family, the upsand downs in their fortunes, and the mighty battle forsupremacy which ensues. They are kshatriyas—membersof the caste of warriors and rulers in ancient Indian society.This war sets in opposition two sets of cousins: the Pándava brothers, the ve sons of the deceased king Pandu; and theone hundred K ́auravas, sons of the blind king Dhrita·rash-tra. The bewildering complexity of the succession rights tothe throne of Hástina·pura, coveted by both sides, assuresa fertile ground for the chaos and destruction that ensue.

Authorship of the original epic is attributed to the leg-endary Vyasa, an immortal, inspired sage. Vyasa, having received it in a vision through the grace of Brahma, theCreator, looked for someone to record as he recited. Along

came Gańesha, the elephant-headed god of wisdom andgood fortune, who agreed to the task on the condition thatthere should be no pause in the dictation. Vyasa duly pouredout the entire epic without faltering, and Gańesha noted itall down, even breaking off one of his tusks when his stylusfailed.

Vaishampáyana, Vyasa’s devoted student, however, is thenarrator of ‘The Great Hall’ presented here. He had heardthe original epic from the great sage himself, and later con-veyed it to an assembly of listeners at the court of Janam·éjaya.

‘The Great Hall’ is of course only a small part of thevast expanse of the ‘Maha·bh

´arata,’ yet it is central to the

structure of the epic as a whole: the Ṕandavas’ initial successand subsequent ruin at the dice game sow the seed for future


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conict. The book, full of action and rich in events, takesplace for the most part in the royal courts of Yudhi·sh-thira in Indra·prastha and Dhrita·rashtra in H́astina·pura. As the characters move between these two locations, thecrisis deepens. The two rival camps enter a situation from which no peaceful outcome is possible.

Here I have sketched brief portraits only of Yudhi·sh-thira, Dury ́odhana and Krishna. Yudhi·shthira, the eldestof the ve Ṕandava brothers, and son of Kunti and thegod Dharma, is the book’s central character, around whomeverythingrevolves.Thegreathallwasbuiltinhishonor;theRoyal Consecration Sacrice performed to elevate him; andthe world’s kingdoms subjugated in his name. It is he who

accepts the challenge of the dice game despite consequenceshe can foresee. He embodies dharma, a concept at the very heart of the poem, so deeply that he is known as dharma B r ̄ aja , the Dharma King.

Dharma is the law on which rests the order of the world.Dharma is also the personal order that each human be-

ing recognizes as his own, which he must obey. It is rightbehavior in the right context, in accordance with univer-sal principles; “righteousness,” “virtue.” In general I haveleft this word untranslated, particularly when the Dharma King is invoked, but I did use the words “righteous” or“virtuous” on those occasions where the English construc-

tion favored an adjective. These words may carry with themimplications of heavy Victorian morality, but similar over-tones are perhaps not absent from the text. Dharma evades


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easy translation, and I wished to avoid a distortion of thismost central of concepts by leaving the word untranslatedas much as possible.

One of the great mysteries of ‘The Great Hall’ is why thehero Yudhi·shthira, a virtuous, judicious, brilliant ruler of enormous stature, so recklessly gambles everything away atdice. Perhaps he is more human than we are often led tobelieve? None of his actions up to that point could possibly hint at such a downfall; even his wish to perform the RoyalConsecration Sacrice, elevating him to the status of the world’s greatest sovereign, came not from arrogant pridebut from a desire to honor the dharma he represents. Herecognizes that nothing is static; he must follow his dharma to its next logical step.

In sharp contrast, Dury ́odhana, the eldest of Dhrita·ra-

shtra’s hundred sons, is the villain: a malevolent, even brutalcharacter who deeply resents Yudhi·shthira’s lordship overthe world. The magnicent hall at Indra·prastha excites hisenvy, and the Ṕandavas’ innocent laughter at his subsequentmishaps inside the hall’s magical chambers, his anger. Hisfather reminds him of all that his birth has given him—rich

foods, costly clothes, a ne education, immense wealth,power and ancestral rank—but this does nothing to dimin-ish his rancor at Yudhi·shthira’s supremacy. Together withhis wily and wicked uncle Sh́akuni, he plots to bring downthe Pándavas in a game of dice. Dhrita·rashtra’s love for hisson undermines his strength of purpose.

Krishna’s place in ‘The Great Hall’ presents ambiguities:he is not at this stage the widely worshipped, much lovedgod of the Middle Ages, wrapped in immense legend. He is


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a man, and hardly all-powerful: Jara·sandha, the Ḿagadhanking, attacked the Vrishnis—the tribe of whom Krishna isthe leader—in their ancestral city of Ḿathura, and forcedthem to retreat to Dv ́araka, stirring in Krishna deep hatred. Yet this heroic warrior, staunch ally of the Pándava brothers,is certainly capable of divine wizardry. ‘The Great Hall’relates some of his most prodigious acts. He possesses aninvincible weapon, a disk, which he hurls at Shishu·pala toremove his head; and he answers Dráupadi’s prayers whenshe is in distress during the dice game. The assistance heoff ers Yudhi·shthira is invaluable, and he presents a gureas radiantly serene as it is energetic and heroic. Man or god?

S

‘T B Beginning’ ( ¯ Adi B parvan), which pre-cedes ‘The Great Hall,’ closes with the great re of theKhándava forest; it is from this inferno that ´ Arjuna rescuesMaya, an asura , or “demon.” Asura s are anti-gods, known

for their malevolent, scheming natures, devoted to creating havoc. Yet Maya, an unusual, rather mysterious character,displays none of these traits; he is not inherently evil, in facthe is grateful and generous. ‘The Great Hall’ begins withhis humble wish to do something for ´ Arjuna in return forsaving his life. It turns out to be Krishna who asks a favor

of him—the construction of a sumptuous sabh¯ a , “assembly hall,” for Yudhi·shthira, “a hall the like of which has never

been seen before, which men, transxed in awe, may never


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hope to imitate.” The Ṕandavas have just settled in Indra·prastha and are in need of such a royal seat. Maya duly setsabout his work with a whole host of helpers.

A sabh̄ a is a hall at the entrance to a royal palace, which,open to the outside world, also leads inside to inner areas of the palace. It is the opposite of all that is private. The king might hold council there with his ministers and advisers,dispense justice, receive important dignitaries or overseemeetings with his subjects. Importantly, the word also refersto a public games room, particularly for the game of dice—the title of the book, Sabh̄ a B parvan, hints at the famous dicegame that dramatically alters the drift of events.

The hall that Maya builds for the Ṕandavas is a truly spectacular, magical creation. The poetry of its descriptiongives vent to a great imagination for the fabulous, so present

in the ‘Maha·bh́arata:’ “That bright light, which dimmedeven the sun’s brilliance, glowed with the divine radiance of the heavens. Like a thick monsoon cloud it dominated the whole sky, uplifting the spirit, unblemished.” This passage,incidentally, exhibits the love of light, and all that shines orsparkles,whichdeeplyimbuestheepic.Wordslike“radiant”

and “resplendent” appear constantly.Maya completes the hall in fourteen months, whichshould be taken as a long period of time, not a short one.No sooner is the hall nished than Nárada arrives, a di-vine sage, deva’ B rs .i —higher in rank than an ordinary orroyal sage—who proceeds to ask the king a series of rhetor-

ical questions. This section, the kac B cid B adhy ̄ aya

, “questionchapter,” is based on the political philosophy of Kautı́lya,precursor to Machiavelli, as elaborated in the Artha B ´ s ̄ astra ,


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‘Manual of Statecraft.’ Yudhi·shthira does not reply to hisquestions—he simply takes note of what is being said andstates, when Ńarada has nished speaking, his intention toperform his role as best he can. Ńarada reminds him of hisreal duties—that there is more to being a king than justbuilding magnicent halls.

Yudhi·shthira then asks the seer to describe the halls of the World Guardians and Brahma; he is interested in know-ing what they look like and how they compare with hisown. The World Guardians, loka B p̄ ala s, are the regents of the four points of the compass: Indra of the East, Yama of the South—the region of death, V áruna of the West,and Kubéra, the Lord of Treasures, of the North. However,the ancient Indians’ conception of space was very diff erentfrom modern notions. Space was visualized as two pyra-

mids joined at their bases. The four corners of the jointbase represent the four corners of the compass, where thefour halls of Indra, Yama, V áruna and Kub́era can be found;at the zenith is the World of Brahma, and his hall; and atthe nadir—here on earth—the hall of Yudhi·shthira. Thereis nothing pejorative about the position of Yudhi·shthira’s

hall—it is included as an integral part of cosmic space.Náradadoes talkof the beauty and splendorof thesehalls,but almost as if only in passing; he goes to great lengths,however, to list the names of all those who frequent eachhall. Yudhi·shthira takes note of one important detail, at which Nárada had adroitly hinted in his discourse: in thehall of Indra—king of the gods and Lord of the East—thereis only one human king, Harish·chandra. Yudhi·shthira asks why this is the case, and Ńarada reveals that Harish·chan-


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dra had performed the r ̄ aja B s ̄ uya , the Royal ConsecrationSacrice, allowing him to ascend to Indra’s world ratherthan that of Yama, the God of Death, upon his death.

It is Nárada who puts the idea of performing the r ̄ aja B s ̄ u- ya into Yudhi·shthira’s head; he also mentions that his deadfather, Pandu, would ascend with all his relatives to Indra’srealm if the sacrice were performed. The Royal Consecra-tion Sacrice isa huge, solemnceremony that elevates a king to the status of world-sovereign. Yudhi·shthira is so con-cerned about the wisdom of performing this ritual, fraught with dangers and difficulties, that he sends a messenger toKrishna to ask his advice. So far none of his advisers andfriends have been able to convince him to proceed.

Krishna emphasizes Yudhi·shthira’s worth and suitability for the honor, but advises him that such an undertaking requires the consent, anumati , of the entire ks .atra , “ruling class.” He mentions that Jara·sandha has claimed universalsovereignty, and has almost achieved this distinction; only after his removal would Yudhi·shthira be able to perform the

Royal Consecration Sacrice. Jara·sandha has captured andimprisoned eighty-six kings of the hundred and one royallineages in the world; he needs to subjugate the remain-ing fourteen, being the hundred-and-rst himself, nally to consolidate his claim on universal sovereignty. Yudhi·shthira could, therefore, secure the allegiance of eighty-six

kings in one swoop if he were to topple Jara·sandha. Yudhi·shthira nally agrees to proceed with the ritual—for the greater glory of his family, for Pandu, and, funda-


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mentally, to follow his dharma. ´ Arjuna, Bhima and Krishna duly set out to ght Jara·sandha; he is vanquished, and thekings in his prisons released. ´ Arjuna, Bhima, Saha·deva andNákula then set out to subjugate the remainingkingdoms of the world, a necessary step in their brother’s quest for worldsovereignty. This dig B vijaya —conquest of the directions, a central royal preoccupation in ancient India—is achieved with relative ease, although Saha·deva is forced into a nasty skirmish with the Fire God in the South.

The grand Royal Consecration Sacrice nally begins, a colorful festival as much as a solemn ritual, full of pomp andceremony. The arbitrary manner in which Yudhi·shthira grants permission to enter seems a curious contradiction inhisotherwise magnanimous character—thousands of guestshave to wait at the gates. One obstacle to the ceremony,

however, arises: King Shishu·pala of the Chedis. A formerally of Jara·sandha of Ḿagadha, Shishu·pala takes exceptionto one of the rituals of the r ̄ aja B s ̄ uya , the guest-gift, which isoff ered to Krishna. This gift is the rst in a series of parting gifts to the kings present at the ceremony, and thus a specialhonor. Shishu·pala challenges this award, denigrates those

who accept it—particularly Bhishma—and belittles Krish-na’s achievements in no uncertain terms.Eventually Krishna loses his patience and beheads him with his discus, and theRoyal Consecration Sacrice continues in splendid fashion.

After the sacricial ceremonies have concluded and mostof the visitors have departed, the sage Vyasa arrives with hisdisciples. One of the most fascinating aspects of the ‘Ma-ha·bhárata’ is the role that Vyasa, the author of the work,plays in his own story. He knows the future, and plays with


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it in the present. Here he gives Yudhi·shthira the greatestcause for concern, with the warning that “At the end of thirteen years, the entire race of kshatriyas will be wipedout, and you will be the instrument of such a destruction.” Yudhi·shthira is plunged into depression, and vows that forthirteen years he will not utter any word that might createrifts between people. He vows never to say no, never torefuse what is asked of him, in order to avoid the slightestquarrel. He hopes that such an action will “blunt the edgeof fate,” but his words will come back to haunt him, for heaccepts the challenge to play dice.

Dury ́odhana, whose envy has already been aroused by the sumptuous splendor of Yudhi·shthira’s hall, is furtheraggrieved in a scene that borders almost on farce. Dury ó-dhana, who had stayed around for a little time after the

r ̄ aja B s ̄ uya , nds himself in various embarrassing situationsduring a tour of the Ṕandavas’ great hall. He mistakes a pool for dry land and falls into it, walks into a crystal doorhe had not seen, and falls victim to various other deceptivedesigns crafted by the asura Maya. He sees no humor in hismisfortunes, particularly as Bhima, ´ Arjuna and the twins,

who witness them, make no secret of their merriment.

Dury ́odhana returns to Hástina·pura, where he bullieshis father, Dhrita·rashtra, into accepting his plans to hold a dice game with the Ṕandavas. With the dexterous hand of

Shákuni, the brother of Dury ́odhana’s mother, Gandhári,and a master at dice and dice-trickery, Dury ódhana hopesto bring down the Ṕandavas and emerge triumphant. De-


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unclothe her, but Dráupadi’s prayers are answered and herdress is lengthened indenitely. At this point the tide turnsagainst Dury ́odhana, andDhrita·rashtra nulliesthematch,allowing the Ṕandavas to return home with all their posses-sions.

Nothing, however, is resolved, and it is not long beforethey are called back to play for one more stake. The loseraccepts to live in the forest for a period of twelve years, andspend a further one year disguised in society —conditionsthat Shákuni hopes will be impossible for the Ṕandavas tofulll. Yudhi·shthira once again agrees to play, bound by hisvow, and loses. The book closes with the Ṕandavas leaving for the forest as the world shakes with ominous portents.

Dharma Daiva

In the ‘Maha·bh́arata,’ dharma is in crisis. This is its cen-tral preoccupation, for a world whose ultimate order andbalance are threatened is a world that will fall apart. The‘Maha·bhárata’ portrays this decay of dharma, this fragmen-tation of a fragile order, and the chaos and destruction that

result. It is in ‘The Great Hall’ that dharma really startsto unravel, pulled apart by the demonic power of man’scapacity for wickedness.

This crisis may reect historical realities: the emperor Ashóka’s conversion to Buddhism in the third century ,and the resulting threat to the established social and moralorder, necessitated a riposte from those whose interests weremost threatened, the brahmins. Praise for brahmins is om-nipresent in ‘The Great Hall’—Yudhi·shthira, for example,


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avoids staking them at dice. Though the work probably ex-isted in some form long before this critical historical period,the tension between Buddhists and brahmins after Ash́oka’sreign may have given great impetus to its elaboration andfurther development.

Fate—daiva , “what comes from the gods”—also plays a central role, as it does in epic poetry in many cultures. Per-haps what is most interesting is the relationship between purus

.a B k ̄ ara , “human action,” and daiva B k ̄ ara , “divine ac-

tion.” The sudden arrival after the Royal Consecration Sac-rice of Vyasa—an inspired sage acquainted with the waysof the gods—puts all this into focus. Vyasa’s dire predictionsprompt Yudhi·shthira to make a vow that, though intendedto avoid human conict, gives direct rise to it: in accordance with daiva .

Dhrita·rashtra’s failure to act is presented with a certainbluntness, for he disclaims personal responsibility for allow-ing his son to proceed with his wicked designs by invoking daiva —“what is ordained is sure to come to pass.” Whereas Yudhi·shthira, though warned of the dangers of the RoyalConsecration Sacrice, is not made out to be in some way responsible for the ensuing chaos, Dhrita·rashtra is.

Daiva is a product of the root div , from which deva ,“god,” is also derived. However, there is another root, d ̄ ıv , which specically means “to play at dice”—devana , a die,and dy ̄ uta , gambling, being two resulting nouns. Shiva, oneof whose favorite pastimes is the game of dice, plays withthe world’s events: the link between the two notions of daiva —fate ordained by the gods and the game of dice—


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becomes apparent. We are confronted with that most Indianof ideas—the gods playing with their creation.

R.K. N , The Mah̄ abh¯ arata (London: Penguin, ),back cover.

For reasons of space, a sketch of each character was impossible.

Yudhi·shthira and Dury ́odhana are the essential agents of theaction; it is around these two poles of dharma and adharma (a B dharma , the opposite of dharma , means “unrighteousness,”“wickedness”) that the action revolves. A short portrait of Kri-shna is off ered because of the potential confusion that his namepresents: Krishna in the ‘Maha·bh́arata’ is very diff erent fromthe Krishna of later Indian religion.

J.A.B. V B argues that the dice game was an integralpart of the Vedic r ̄ ajas ̄ uya ritual, putting Yudhi·shthira under a ritual obligation to accept the challenge. See The Mah̄ abh̄ arata,vol. II. (Chicago: University of Chicago Press, – ), pp.– .

The word is still in use: the Lok Sabha is the lower house of the parliament of the Republic of India, in New Delhi.

The Pándavas’ adventures during their twelve-year exile in theforest are related in the Vana B parvan, and the events of theirthirteenth year in society in the Vir ̄ ata B parvan.

Madeleine B goes into great depth on this issue inLe Mah̄ abh¯ arata , Tome (Paris: Éditions du Seuil, ), pp.

– .


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B

‘ · ´ ’ Texts used for this edition:

TheMahabharatamwith the B Bhawadeepa Commentary of N · , R K ,ed.(Poona:Chi-

trashala Press, – ; repr. New Delhi: Oriental Books ReprintCorporation, ; nd ed. ). Vol. Sabha Parva .

The Mah̄ abh̄ arata, for the rst time critically edited , V.S. S ,S.K.B , P.L.V , et al., eds., vols. plus vols. of indexes (Poona Bhandarkar Oriental Research Institute – ).Vol. The Sabhaparvan.

‘ · ´ ’ G , K M (trans.) [early edns. ascribed to the publisher,

P. C. Roy],The Mahabharata of Krishna-Dwaipayana Vyasa , vols.( - ; nd edn. Calcutta, ; repr. New Delhi: MunshiramManoharlal, ( th edn. )).

V B , J. A. B. (trans. and ed.), The Mah̄ abh¯ arata, Books 1–5 , vols. (Chicago: University of Chicago Press, – ).

F , H. (trans.), Le Mah̄ abh̄ arata , vols. (Paris: – ).

(A selection of works used in the Introduction and Notes, which may contribute to a greater understanding of this part of the Maha·bh́ arata ,or the epic as a whole)B , M , Le Mah̄ abh¯ arata vols. (Paris: Éditions du

Seuil, ).B , J , The Sanskrit Epics . (Leiden: Brill, ).C ` , J -C , The Mah̄ abh¯ arata , [a drama, translated from

the French by P B ]. (New York: Harper & Row, ).

N , R.K, The Mah̄ abh¯ arata . (London: Penguin, ).S , N , Religious Doctrines in the Mah¯ abh¯ arata . (Delhi:

Motilal Barnasidass, ).


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· ´ –

V B , J.A.B., On the Structure of the Sabh¯ aparvan of the Ma-h¯ abh¯ arata, in India Maior [Festschrift Gonda] . (Leyden: ), pp.

– .


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1–4Greatest Of All Halls


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· ´ –

N ¯ ¯ . . . Naram. c’ âiva nar’Âottamamdev ̄ım

. Sarasvat̄ım

. c’ âiva

tato «Jayam» ud̄ırayet!


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H N ´ ,most exalted Nara,and blessed Saŕasvati;sing the “Victory” to come!*


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´ ¯ uv ̄aca:

T ’ ı̄ Mayah. Pārtham. *.

V ̄asudevasya sam. nidhau

prā ̃njalih. ślaks.n. ay ̄a v ̄acā pūjayitv ̄a punah. punah. :

uv ̄aca:«asm̄at Kr.s.n. āt susam. rabdhāt, pāvak ̄ac ca didhaks.atah.

tvay ̄a trāto ’smi. Kaunteya, br̄uhi kim. karav ̄an. i te?»

uv ̄aca:«kr.tam eva tvay ̄a sarvam. . svasti gaccha, mah”Âasura!

prı̄timān bhava me nityam. , pr̄ıtimanto vayam. ca te.»

uv ̄aca:«yuktam etat tvayi, vibho, yath” āttha, purus.a’Ars.abha,*

prı̄tiApūrvam aham. kim. cit kartum icch̄ami, Bhārata.aham. hi Vísvakarm̄a vai d̄anav ̄anām. mahā Akavih. ..so ’ham. vai tvatAkr.te kartum. kim. cid icch̄ami, Pān. d. ava.»

uv ̄aca:«pr̄an. a Akr.cchrād vimuktam. tvam

ātmānam. manyase may ̄a.evam. gate na śaks.y ̄ami

kim. cit k ̄arayitum. tvay ̄a.na c’ âpi tava sam. kalpam. mogham icch̄ami, dānava.Kr.s.n. asya kriyat̄am. kim. cit: tathā pratikr.tam. mayi.»

´ ¯ uv ̄aca:codito V ̄asudevas tu Mayena, Bharata’Ars.abha,

muhūrtam iva sam. dadhyau, «kim ayam

. codyat̄am iti?»

coday ̄am āsa tam. Kr.s.n. ah. , «sabh̄a vai kriyat̄am iti,»tato vicintya manas̄a loka Anāthah. praj̄a Apatih. ,


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´ said:Maya rendered honor to ´ Arjuna in Krishna’s presence, .

his hands folded in respect, before softly addressing him: said:

“From Krishna’s fury you have rescued me, and from theall-devouring re. ´ Arjuna, son of Kunti, tell me, what may I do for you?”

´ said:

“You have done everything.* Farewell, great ´ asura ! Bealways friendly toward us, and we shall be friendly towardyou.”

said:“Such worthy words conrm your noble nature, my lord,

bull among men! Yet I still long to do something to show my a ff ection for you. For I am a supreme craftsman, Vishva· .karman among the d ́ anava s,* and I wish to do something for you, son of Pandu.”

´ said:“You think that I have rescued you from the clutches

of death. Even if this is true I cannot ask another serviceof you, but I do not wish to frustrate your intentions. Dosomething for Krishna: that will be reward enough for me.”

´ said:Maya then pressed Krishna, O most heroic of Bh́aratas,

who thought for a moment about the task he would set him.Krishna—Vasud́eva, Lord and Creator of the universe—pondered and suggested, “Build an assembly hall, greatestof craftsmen, if you wish to perform a gracious deed, a deed .


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· ´ –

«yadi tvam. kartuAk ̄amo ’si priyam. , śilpavat̄am. vara,.dharma Arājasya, Daiteya, y ̄adr.ś̄ım iha manyase,

y ̄am. kr.tām. n’ ânukurvanti mānav ̄ah. preks.ya vismit̄ah. *manus.ya Aloke sakale, t̄adr.ś̄ım. kuru vai sabh̄am.yatra divy ̄an abhiprāy ̄an pa ́syema hi kr.tām. s tvay ̄a,¯ Asur̄an mānus.ām. ś c’ âiva, sabh̄am. tām. kuru vai, Maya.»

pratigr.hya tu tad v ̄akyam. sam. prahr.s.t.o Mayas tad̄a vimāna Apratimām. cakre P̄an. d. avasya śubhām. sabh̄am. .

tatah. Kr.s.n. a ́s ca P̄artha ́s ca dharma Arāje Yudhis.t.hiresarvam etad sam̄avedya daŕsay ̄am āsatur Mayam.tasmai Yudhis.t.hirah. pūjām. yath”Âarham akarot tad̄a,.sa tu t̄am. pratijagr̄aha Mayah. satAkr.tya, Bh̄arata.

sa pūrva Adeva Acaritam. tadā tatra, vísām. pate,kathay ̄am āsa Daiteyah. Pān. d. uAputres.u, Bhārata.

sa k ̄alam. kam. cid ā ́svasya Vísvakarm̄a vicintya tu,sabhām. pracakrame kartum. Pān. d. av ̄anām. mah”Āatmanāmabhiprāyen. a Pārthānām. , Kr.s.n. asya ca mah”Āatmanah. .pun. ye ’hani mah̄a Atejāh. kr.ta Akautuka Ama ̇ngalah.tarpayitv ̄a dvija Ásres.t.hān pāyasena sahasra śah. ,dhanam. bahuAvidham. dattv ̄a tebhya eva ca v ı̄ryav ̄an,sarva’ArtuAgun. a Asam. pannām. , divya Arūpām. , manoramām,.da ́sa Akis.kuAsahasr̄am. tām. māpay ̄am āsa sarvatah. .

. ¯ K ¯ . . sukha Av ̄asam. Jan̄ardanah..Pārthaih. pr̄ıtiAsamāyuktaih. pūjan’Âarho ’bhipūjitah.gamanāya matim. cakre pitur daŕsana Alālasah. .dharma Arājam ath’ āmantrya, Pr.thām. ca pr.thuAlocanah. ,vavande caran. au mūrdhnā jagadAvandyah. pitr.As.vasuh. .


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you deem worthy of the Dharma King.* A hall the like of which has never been seen before, which men, transxedin awe, may never hope to imitate. Maya, build a hall in which we may see you realize the conceptions of god, ´ asura and man.”*

Upon hearing these words Maya joyfully accepted theproposal to construct a palatial hall for the Ṕandavas, a hall that would rival the gods’ celestial chariots in splendor.Thereupon Krishna and ´ Arjuna Partha related all this to Yudhi·shthira, the Dharma King, and presented Maya tohim. Yudhi·shthira received Maya with due honor, which .he accepted respectfully.

Maya, O Bh́arata, then went on to relate to the sons of Pandu the feats of the ancient gods. After recuperating for a time in thought, this Vishva·karman set about the construc-tion of a great hall for the noble sons of Pandu, according tothe wishes of ´ Arjuna, his brothers, and high-minded Kri-shna. On an auspicious day the heroic ´ asura , ardent andenergetic, performed the initial rites, distributing gifts andoff ering sweetened milk-rice to brahmins by the thousand.He then measured out a terrain ten thousand cubits long on .each side, land overowing with the delights of all seasons,captivating, of celestial beauty.

A K had lived happily for some time on the .Khándava Plains, enjoying the a ff ection and honor of Pri-tha’s sons, hebegan to long to seehis father, and his thoughtsturned in that direction. The large-eyed hero—Jańarda-na, illustrious Hrishi·kesha—worshipped throughout the world, bade farewell to the Dharma King and to Pritha,


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· ´ –

sa tay ̄a mūrdhny upāghrātah. paris.vakta ́s ca Késavah. .dadaŕs’ ânantaram. Kr.s.n. o bhagin̄ım. sv ̄am. mahā Aya ́sāh. ,

tām upetya Hr.s.ı̄késah

. pr̄ıty ̄a bās

.pa Asamanvitah

.arthyam. , tathyam. , hitam. v ̄akyam. ,.laghu, yuktam, anAuttamam

uv ̄aca bhagav ̄an bhadrām.Subhadrām. bhadra Abhās.in. ı̄m.

tay ̄a sva A jana Ag ̄amı̄ni śrāvito vacan̄ani sah. ,sam. pūjita ́s c’ âpy a Asakr.c, chiras̄a c’ âbhiv ̄aditah. .tām anujñāya V ̄ars.n. eyah. , pratinandya ca bh̄aminı̄m,dadaŕs’ ânantaram. Kr.s.n. ām. , Dhaumyam. c’ âpi Jan̄ardanah. .vavande ca yath̄a Any ̄ayam. Dhaumyam. purus.a Asattamah. ,Draupadı̄m. s̄antvayitv ̄a ca, āmantrya ca Jan̄ardanah. .

bhrātr̄.n abhyagamad vidv ̄an Pārthena sahito bal̄ı,bhrātr.bhih. pa ̃ncabhih. Kr.s.n. o vr.tah. , Śakra iv’ âmaraih. .

y ̄atrā Ak ̄alasya yogy ̄ani karmān. i Garud. a Adhvajah..kartuAk ̄amah. , śucir bhūtv ̄a, sn̄atav ̄an, samalam. kr.tah. ,arcay ̄am āsa dev ̄am. ś ca dvij̄am. ś ca YaduApum. gavah.mālya A japya AnamasAk ̄arair, gandhair ucc’Âavacair api.sa kr.tv ̄a sarva Ak ̄ary ̄an. i pratasthe tasthus.ām. varah. .

upetya sa YaduÁsres.t.ho bāhya Akaks.ād vinirgatah. ,

svastiAv ̄acy’ ârhato vipr̄an dadhiApātra Aphal’Âaks.ataih. ,vasu prad̄aya ca tatah. pradaks.in. am ath’ âkarot.k ̄a ̃ncanam. ratham āsthāya T̄arks.ya Aketanam ā ́suAgam,gadā Acakr’ÂasiÁsârṅg’Āadyair āyudhair āvr.tam. śubham.tithāv apy, atha naks.atre, muhūrte ca gun. ’Âanvite.prayayau pun. d. ar̄ık’Âaks.ah. Śaivya ASugr̄ıva Av ̄ahanah. .

anv ̄aruroha c’ âpy enam. premn

.ā r̄ajā Yudhis

.t.hirah

.,

apāsya c’ âsya yant̄aram. Dārukam. yantr.Asattamam,abhı̄śūn sam. prajagr̄aha svayam. KuruApatis tadā.


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and honored his father’s sister by kneeling to touch her feet with his head. She embraced him, and kissed him on theforehead.

Krishna then went to see his gentle and soft-spoken sister,Subhádra, tears of a ff ection springing to his eyes, and coun- .seled her with brief and appropriate words; she bowed herhead respectfully, and gave him messages to convey to herfamily.Krishnathentookhisleave,biddingherfarewell,and went to see Dhaumya* and Dŕaupadi: the great hero bowed with great respect before Dhaumya and greeted Dráupadi,before graciously making his farewells, and parting.

Wise and mighty Krishna went up to the ve brothers with Yudhi·shthira, in whose company he looked like Indra amid the Immortals. Performing the rites appropriate to the .start of a journey, he bathed—to purify himself—put on hisnest clothes and worshipped gods and brahmins alike withvarious prayers, garlands and perfumes. This done, the greattraveler, bull of the Yadus, set out.

On the way he off ered gifts of fruit, bowls of yogurt andunhusked rice to deserving brahmins, and circled them in worship. Krishna then mounted his golden chariot, whichbore Gáruda’s emblem,* a swift and resplendent vehiclelled with his discus, club, sword, bow and other weapons,and—the hour, day and stars propitious—set out, drawn .by his horses Shaivya and Sugrı́va.

Out of love King Yudhi·shthira climbed up to join him,even moving his able charioteer D́aruka aside to take thereins himself; and ´ Arjuna, too, mounted the chariot, and waved a white yak-haired fan with a golden sta ff around


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· ´ –

upāruhy’ ˆ Arjuna ́s c’ âpi c̄amara Avyajanam. sitamrukma Adan. d. am. br.hadAbāhur vidudhāva pradaks.in. am.

tath” âiva Bh̄ımaseno ’pi yam̄abhy ̄am. sahito bal̄ıpr.s.t.hato ’nuyayau Kr.s.n. am r.tvik Apaura A janair vr.tah. .sa tathā bhrātr.bhih. sarvaih. Késavah. para Av ̄ıra Ahā

anv ̄ıyamānah. śuśubhe, śis.yair iva guruh. priyaih. ..Pārtham āmantrya Govindah. , paris.vajya suApı̄d. itam, Yudhis.t.hiram. pūjayitv ̄a, Bh̄ımasenam. , yamau tath̄a,

paris.vakto bhr.śam. tais tu, yam̄abhy ̄am abhiv ̄aditah. .yojan’Âardham atho gatv ̄a Kr.s.nah. para Apuram. A jayah. Yudhis.t.hiram. samāmantrya, «nivartasv’ êti,» Bh̄arata;tato ’bhiv ̄adya Govindah. pādau jagr̄aha dharma Avit.utth āpya dharma Arājas tu mūrdhny upāghrāya KésavamPān. d. avo Y ̄adava Ásres.t.ham. Kr.s.n. am. kamala Alocanam,

«gamyat̄am ity» anuj̃nāpya dharma Arājo Yudhis.t.hirah. .tatas taih. sam. vidam. kr.tv ̄a yath̄avan MadhuAsūdanah. ,.nivartya ca tath̄a kr.cchrāt Pān. d. av ̄an sa Apad’Âanug ̄an,sv ̄am. pur̄ım. prayayau hr.s.t.o yath̄a Śakro ’mar̄avat̄ım. .locanair anujagmus te tam ā dr.s.t.iApathāt tadā.manobhir anujagmus te Kr.s.n. am. pr̄ıtiAsamanvay ̄at,a Atr.pta Amanas̄am eva tes.ām. Késava Adarśane.

ks.ipram antarAdadhe Śaurís caks.us.ām. priya Adarśanah. .a Ak ̄amā eva P̄arthās te Govinda Agata Amānas̄ah.nivr.ty’ ôpayayus t̄urn. am. svam. puram. purus.a’Ars.abhāh. .syandanen’ âtha Kr.s.n. o ’pi tvaritam. Dv ̄arak ̄am ag ̄at.Sātvatena ca v ̄ıren. a pr.s.t.hato y ̄ayinā tadā,Dāruken. a ca s̄utena sahito Devak ̄ıAsutah..sa gato Dv ̄arak ̄am. Vis.n. ur, Garutmān iva vegav ̄an.


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Krishna’s head. Mighty Bhima·sena followed them frombehind, accompanied by the twins Ńakula and Saha·deva,and a host of priests and townspeople.

Surrounded by the brothers, K éshava—Gov ı́nda, slayerofenemyheroes—shoneradiantlylikeaguruamidhisdisci- .ples; he embraced ´ Arjuna tightly, making his farewells, andbowed reverently before Yudhi·shthira, Bhima·sena and thetwins. The three elder Ṕandavas then too embraced him with a ff ection, and the twins waved a solemn, respectfulgoodbye.

Krishna, fearsome conqueror of enemy cities, advancedhalf a league* forward but, seeing the Pándavas following behind, requested of Yudhi·shthira that they all turn back;ever dutiful, having spoken, he fell at the King’s feet inveneration. The Dharma King raised the lotus-eyed Y á-

dava and kissed him on the head; he bid Krishna leave,commanding simply, “You maygo.” Courteously promising .to return, Krishna once again departed in the highest spirits,like Indra as he headed for Amarávati, separating himself with difficulty from the Ṕandavas, who continued to follow him at rst on foot, then with their eyes as far as their gaze

would allow. Out of a ff ection, the Ṕandavas clung to himin their minds’ eye, unable to let him go.Thefriendly-lookingKrishnasoondisappeared.Thesons

of Partha unwillingly turned around, their minds still withhim, and swiftly made their way back to their own city. Kri-shna moved swiftly toward Dv áraka in his chariot, and, ac- .companied by his charioteer D́aruka and followed by heroicSátvata, Dévaki’s son Vishnu reached the city at a speed torival Ǵaruda.


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· ´ –

nivr.tya dharma Arājas tu saha bhr̄atr.bhir acyutah. ,suhr.tAparivr.to rājā pravivésa pur’Âottamam.

visr. jya suhr.dah. sarv ̄an, bhrātr̄.n putrām. ś ca dharma Arāt.mumoda purus.a Avy ̄aghro Draupady ̄a sahito, nr.pa.Késavo ’pi mud̄a yuktah. pravivésa pur’Âottamampūjyamāno YaduÁsres.t.hair Ugrasena Amukhais tathā.¯ Ahukam. pitaram. vr.ddham. , mātaram. ca ya ́sasvin̄ımabhiv ̄adya Balam. c’ âiva sthitah. kamala Alocanah.Pradyumna ASāmba ANiśat.hām. ś, Cārudes.n. am. , Gadam. tathā,. Aniruddham. ca, Bh̄anum. ca paris.vajya Jan̄ardanah.sa vr.ddhair abhyanuj̃nāto Rukmin. y ̄a bhavanam. yayau.

’ ˆ ı̄ Mayah. Pārtham Arjunam. jayat̄am. varam,.«̄apr

.cche tv ̄am

. , gamis

.y ̄ami, punar es

.y ̄ami c’ âpy aham.

uttaren. a tu Kail̄asam. , Mainākam. parvatam. prati,yiyaks.yamān. es.u purā dānaves.u, may ̄a kr.tamcitram. man. iAmayam. bhān. d. am. ramyam. , BinduAsarah. prati,sabhāy ̄am. satya Asam. dhasya yad ās̄ıd Vr.s.aparvan. ah. .āgamis.y ̄ami tad gr.hya yadi tis.t.hati, Bhārata,

tatah. sabh̄am. karis.y ̄ami Pān. d. av ̄aya ya ́sasvin̄ım,manah. Aprahlādinı̄m. , citr̄am. , sarva Aratna Avibhūs.itām..

asti BinduAsarasy ugr̄a gad̄a ca, KuruAnandana,nihitā Yauvan̄a ́svena* r̄ajñā hatv ̄a ran. e ripūn.suvarn. a Abindubhiś citr̄a, gurv ̄ı, bhāra Asahā, dr.d. hā,sā vai śata Asahasrasya sam. mitā śatruAghātinı̄;anurūpā ca Bh̄ımasya, Ḡan. d. ı̄vam. bhavato yath̄a;V ̄arun. a ́s ca mah̄a Ása ̇nkho Devadattah. suAghos.av ̄an.


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On turning back, King Yudhi·shthira, tiger among menof everlasting glory, entered his royal capital surrounded by his friends and brothers. Dismissing them, he went aloneto savor the pleasure of Dŕaupadi’s company. K ́eshava, too,entered his own royal seat radiant with happiness as eminent Y ́adavas—of whom the most prominent was Ugra·sena— worshipped him. The lotus-eyed prince bowed respectfully before his old father, ´ Ahuka, his illustrious mother and hisbrother Bala; and embraced Prady úmna, Shamba, Ńısha- .tha, Cháru·deshna, Gada, Aniŕuddha and Bhanu; beforeobtaining the permission of the elders to visit R úkmini’sapartments.

M addressed ´ Arjuna Partha, greatest of con- .querors: “I must go and will now take my leave, but I shall

soon return. North of Mount Kaiĺasa in the Maińaka rangeand close to Lake Bindu, while the d ́ anava s were engagedin sacricial ceremonies, I once crafted a splendid vessel of precious stones, which remained in the court of Vrisha·par-van, known for his attachment to truth. I shall go and comeback with it, if it is still there, O Bh́arata, and then fash-

ion for the Ṕandavas a magni

cent hall of jewels which will .

enrapture every heart.There is in Lake Bindu a mighty club, thrown there by

King Yauvańashva after he had slain his enemies in battle.Gold-studded, heavy—equal to a hundred thousand lesser weapons—it will stand up to brutal force; it is a tting weapon for Bhima just as the Gand́ıva bow* is for you.There is also in the lake a great conch shell called Deva·datta, whose sound is exceptionally powerful, which came


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· ´ –

sarvam etat prad̄asy ̄ami bhavate, n’ âtra sam. śayah. .»ity uktv ̄a so ’surah. Pārtham. prāg Audı̄c̄ım. dísam. gatah. .

asty uttaren. a Kail̄as̄an, Mainākam. parvatam. pratiHiran. ya Ásr.ṅgah. suAmahān mahā Aman. iAmayo girih. ,.ramyam. BinduAsaro n̄ama, yatra r̄ajā Bhag ̄ıArathah.dras.t.um. Bhāg ̄ıArathı̄m. Ga ̇ng ̄am uv ̄asa bahul̄ah. samāh. .yatr’ ês.t.um. sarva Abhūtānām ı̄śvaren. a mah”Āatmanā āhr.tāh. kratavo mukhy ̄ah. śatam. , Bharata Asattama,

yatra y ̄upā man. iAmay ̄a ́s, caity ̄a ́s c’ âpi hiran. Amay ̄ah.śobh”Âartham. vihit̄as tatra, na tu dr.s.t.’Âantatah. kr.tāh. ,yatr’ ês.t.v ̄a sa gatah. siddhim. sahasr’Âaks.ah. Śac̄ıApatih. ,yatra bhūta Apatih. sr.s.t.v ̄a sarv ̄an lok ̄an san̄atanah.upāsyate tigma Atejāh. sthito bhūtaih. sahasra ́sah. .

Nara ANārāyan. au, Brahmā, Yamah. , Sthān. uś ca pa ̃ncamah..

upāsate yatra sattram. sahasra Ayuga Aparyaye,yatr’ ês.t.am. V ̄asudevena sattrair vars.a AAgan. ān bahūn,śraddadhānena satatam. dharma Asam. pratipattaye.suvarn. a Amālino y ̄upā ́s, caity ̄am. ś c’ âpy atibh̄asvar̄andadau yatra sahasr̄an. i prayut̄ani ca Késavah. .

tatra gatv ̄a sa jagr̄aha gad̄am. śa ̇nkham. ca, Bh̄arata,sphāt.ikam. ca sabh̄a Adravyam. yad ās̄ıd Vr.s.aparvan. ah. ,kim. karaih. saha raks.obhir yad araks.an mahad dhanam.tad agr.hn. ān Mayas tatra gatv ̄a sarvam. mah”Âasurah. ,tad āhr.tya ca t̄am. cakre so ’suro ’pratim̄am. sabh̄am.vísrutām. tris.u lokes.u, divy ̄am. man. iAmay ̄ım. śubhām.gadām. ca Bh̄ımasen̄aya pravar̄am. pradadau tad̄a,Devadattam. c’ ˆ Arjunāya śa ̇nkha Apravaram uttamam,yasya śa ̇nkhasya n̄adena bhūtāni pracakampire.


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from V ́aruna. Doubt not, this will all be yours.” With suchpromises, the ´ asura left, heading northeast.

North of Mount Kaiĺasa toward the Maińaka range there .is a splendid peak made of gems called Hiránya·shringa,and near it the lovely Lake Bindu, where King Bhagi·ratha lived for many years in his desire to see the goddess Ga-nga.* It was there that the lord of all creatures performedone hundred great sacrices; there bejeweled sacricial polesand golden altars were erected, even though no scriptureordained it, for their beauty alone. There Shachi’s thousand-eyed consort, having off ered sacrices, achieved perfection;and there the eternal lord, having brought all worlds intobeing, is worshipped by thousands in ery magnicence.

There, too, Nara and Naŕayana, Brahma, Yama and Stha- .nu attend great sacrices every one thousand aeons; Vasu-déva has performed ceremonies there faithfully for yearsand years, always striving to act righteously. There, too,K ́eshava had thousands and thousands of sacricial stakeserected draped in golden garlands, and mighty altars builtof dazzling splendor.

Upon arrival Maya took possession of the club, the conchshell, the crystals and other treasure from the palace that hadbelonged to King Vrisha·parvan, vast wealth that he guarded with servant r ́ akshasa s. Taking it all, the great ´ asura returned .home and proceeded to build a heavenly hall of celestialsplendor, shimmering with the light of jewels, unparalleledand celebrated throughout the three worlds. The mighty club he gave to Bhima·sena and to ´ Arjuna the conch at whose terrible roar all creatures trembled in awe.


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· ´ –

jala A j̄anām. ca padm̄anām. , sthala A j̄anām. ca sarva śah.māruto gandham ādāya P̄an. d. av ̄an sma nis.evate.ı̄dr

.ś̄ım

. tām

. sabh̄am

. kr

.tv ̄a māsaih

. paricaturda ́saih

.nis.t.hitām. dharma Arājāya Mayo, r̄ajan, nyavedayat.

. ´ . tasy ̄am. cakre r̄ajā Yudhis.t.hirah. ,.ayutam. bhojayitv ̄a tu brāhman. ānām. nar’Âadhipah. .s’Āajyena, p̄ayasen’ âiva, madhun̄a mísritena ca bhaks.yair mūlaih. phalaís c’ âiva, m̄am. sair v ̄arāha Ahārin. aih. ,kr

.saren

.’ âtha j̄ıvanty ̄a, havis

.yen

.a ca sarva śah

.,

mām. sa Aprak ̄arair vividhaih. , khādyaís c’ âpi tathā, nr.pa,cos.yaís ca vividhai, r̄ajan, peyaís ca bahuAvistaraih. ,ahataís c’ âiva v ̄asobhir, mālyair ucc’Âavacair apitarpay ̄am āsa vipr’Âendrān nānā digbhyah. samāgat̄an.dadau tebhyah. sahasr̄an. i gav ̄am. pratyeka ́sah. punah. ..pun. y’Âaha Aghos.as tatr’ ās̄ıd diva Aspr.g iva, Bh̄arata.v ̄aditrair vividhair divyair, gandhair ucc’Âavacair apipūjayitv ̄a KuruÁsres.t.ho daivat̄ani nyavésayat.*tatra mall̄a, nat.ā, jhall̄ah. , sūtā, vait̄alik ̄as tathā upatasthur mah”Āatmānam. Dharma Aputram. Yudhis.t.hiram.

tathā sa kr.tv ̄a pūjām. tām. bhrātr.bhih. saha P̄an. d. avah.tasy ̄am. sabh̄ay ̄am. ramy ̄ay ̄am. reme Śakro yath̄a divi.

sabhāy ̄am r.s.ayas tasy ̄am. Pān. d. avaih. saha āsate,ās̄am. cakrur nar’Âendrā ́s ca n̄anā Adeśa Asamāgat̄ah. : Asito Devalah. , Satyah. , Sarpamāl̄ı, Mahā ́sir̄ah. ,. Arv ̄avasuh. , Sumitra ́s ca, Maitreyah. , Śunako, Balih. ,Bako Dālbhyah. , Sthūla ́sir̄ah. , Kr.s.n. a ADvaipāyanah. , Śukah.Sumantur, Jaiminih. , Pailo, Vy ̄asa Ásis.y ̄as tathā vayam,Tittirir, Y ̄ajñavalkya ́s ca, sa Asuto Lomahars

.an

.ah

.,

Apsuhomya ́s ca, Dhaumya ́s ca, An. ı̄mān. d. avya AKaúsikau,Dāmos.n. ı̄s.as, Traivalís ca, Parn. ādo, Ghat.ajānukah. ,


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water lilies. Such was the palace that Maya built in fourteenmonths, O king. When it was nished, he reported back tothe Dharma King.

K Y · , lord of men, made his entrance .after distributing food to ten thousandnoble brahmins fromevery quarter. He satised them with preparations of milk and rice, spiced rice with peas, roots and fruit, honey, wildboar and venison, claried butter, jiv ́ anti ,* all kinds of meat,

a whole range of things to chew, suck and drink, garlandsand fresh garments; and gave them a thousand cows each. .The great tumult of the auspicious day seemed to echoto the heavens, O Bh́arata. Then, having worshipped thegods with celestial music and rened perfumes, the Best of the Kurus installed them there, athletes, dancers, wrestlers,

boxers, bards and singers all attending upon great-souledDharma’s son. When these ceremonies had concluded, Yudhi·shthira

and his brothers relaxed in that lovely hall like Indra in theheavens.

Sages joined the Ṕandavas, and kings too of distant lands:´

Asita D́evala, Satya, Sarpa·malin, Maha·shiras, Arva·vasu, .

Sumı́tra, Maitréya, Sh́unaka, Bali, Baka Dalbhya, Sthula·shiras, Krishna Dvaiṕayana and we ourselves, Vyasa’s stu-dents: there were also Shuka Suḿantu, Jáimini, Paila, T́ıt-tiri, Yajnav ́alkya, Loma·h́arshana and his son Apsu·homya,Dhaumya, Animand́avya, K ́aushika, Damoshńısha, Trái-vali, Parńada, Ghata·j́anuka, Maunjáyana, Vayu·bhaksha,Parashárya, Śarika, Balav áka, Shiniv ́aka, Sapta·pala, Krita·shrama, Jatu·karna, Shikh́avat, Aĺamba, Parij́ataka, noble .


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· ´ –

Mauñjāyano, V ̄ayubhaks.ah. , Pārā ́sarya ́s, ca S̄arikah. ,Balav ̄akah. , Śin̄ıv ̄akah. , Saptap̄alah. , Kr.ta ́sramah. , J̄atūkarn

.ah

., Śikhāv ̄am

. ś ca, Alambah

., Pārij̄atakah

.,

Parvata ́s ca mah̄abhāgo, Mārkan. d. eyo mah̄a Amunih. ,.Pavitrap̄an. ih. , Sāvarn. o, Bhālukir, Gālavas tath̄a, Ja ̇nghābandhuś ca, Raibhya ś ca, Kopavegas, tath̄a Bhr.guh. ,Haribabhruś ca, Kaun. d. inyo, Babhrumāl̄ı, San̄atanah. ,Kaks.ı̄v ̄an, Aúsija ́s c’ âiva, Nāciketo, ’tha Gautamah. ,Paiṅgyo, Var̄ahah. , Śunakah. , Śān. d. ila ́s ca mah̄a Atapāh. ,Kukkuro, Ven. uja ̇ngho’ tha, K ̄al̄apah. , Kat.ha eva ca.

munayo dharma Avidv ̄am. so, dhr.t’Āatmāno, jit’Âendriy ̄ah. ,ete c’ ânye ca bahavo veda Aved̄a ̇nga Apāra Ag ̄ah.upāsate mah”Āatmānam. sabh̄ay ̄am r.s.iAsattamāh. ,kathayantah. kathāh. pun. y ̄a dharma A jñāh. , śucayo, ’mal̄ah. ..tath” âiva ks.atriya Ásres.t.hā dharma Arājam upāsate:

śr̄ımān, mah”Āatmā, dharm’Āatmā Muñjaketur, Vivardhanah. ,Sam. grāmajid, Durmukha ́s ca, Ugrasena ś ca v ̄ıryav ̄an,Kaks.asenah. ks.itiApatih. , Ks.emaka ́s c’ âparājitah. ,K ̄amboja Arājah. Kamat.hah. , Kampana ́s ca mah̄a Abalah. ,bala Apaurus.a Asam. pannān, kr.t’Âastrān, amit’Âaujasah. *satatam. kampay ̄am āsa Yavan̄an eka eva yah. ,

yath” âsur̄an K ̄alakey ̄an devo vajra Adharas, tathā. Jat.āsuro Madrak ̄anām. ca r̄ajā,

Kuntih. , Pulinda ́s ca Kir̄ata Arājah. ,tath” ˆ A ̇nga AVa ̇ngau saha Pun. d. raken. a,

Pān. d. y’A Ôd. ra Arājau saha c’ ˆ Andhraken. a, A ̇ngo, Va ̇ngah. , Sumitra ́s ca, Śaibya ́s c’ âmitra Akaŕsanah. ,.Kirāta Arājah

. Sumanā, Yavan’Âadhipatis tathā

Cān. ūro, Devar̄ata ́s ca, Bhojo, Bh̄ımaratha ́s ca yah. ,Śrutāyudha ́s ca K ̄aliṅgo, Jayasena ś ca M̄agadhah. ,


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Párvata, the great sage Markand́eya, Pav ı́tra·pani, Sav ́ar-na, Bháluki, Gálava, Janghab́andhu, Raibhya, Kopa·vega,Bhrigu, Hari·babhru, Kaund́ınya, Babhru·mali, Sańatana,Kaksh́ıvat, ´ Aushija, Nachik ́etas, Gáutama, Paingya, Vaŕaha,Shúnaka, the great ascetic Sh́andila, K ́ukkura, Venu·jangha,Kaĺapa and Katha.

These and many other worthy ascetics, virtuous mastersof soul and body, learned in the Vedas and Branches of theVeda, all did honor to the great-souled king in his assembly hall, worshipping him with sacred discourses and auspi- .cious stories. Noble kshatriyas* also attended upon him,such as great-souled, majestic Munja·ketu, and Viv árdha-na, Sangŕama·jit, Dúrmukha, mighty Ugra·sena, King Kak-sha·sena, invincible Ksh́emaka, King K ́amatha of Kamb́oja and the terrible K ́ampana, innite in majestic splendor, who alone brought the Greeks—masters in the use of arms,strong and courageous—trembling to their knees like Indra when he reduced the Kalak éya ´ asura s with his thunderbolt.

Also present were King Jatásura of the Ḿadrakas, King Puĺında of the Kiŕatas, Kunti, Anga, Vanga, Ṕundraka, thekings of the Pandyas and the Udras, ´ Andhraka, King Śu-manas of the Kiŕatas, King Chańura of the Greeks, Su- .mı́tra, Shaibya who tears his enemies to pieces, Deva·ra-ta, Bhoja, Bhima·ratha, Shrut́ayudha of Kaĺınga, Jaya·sena of Mágadha, K ́etumat, Vasu·dana of Vid́eha, Krita·kshana,Suk ́arman, Chekitána, Puru who destroys his enemies inbattle, Sudhárman, Aniŕuddha, mighty Shrut́ayus, invinci-ble Ańupa·raja, handsome Krama·jit, Shishu·pala and hisson the King of Kaŕusha as well as those unconquerable


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· ´ –

Sukarmā, Cekit̄ana ́s ca, Purús c’ âmitra Akars.an. ah. ,Ketumān, Vasudāna ́s ca Vaideho, ’tha Kr.taks.an. ah. ,Sudharmā c’, ˆ Aniruddha ́s ca, Śrutāyús ca mah̄a Abalah

.,

Anūparājo durAdhars.ah. , Kramajic ca sudaŕsanah. ,Śísupālah. saha Asutah. , Karūs.’Âadhipatis tathā,Vr.s.n. ı̄nām. c’ âiva Durdhars.āh. kumārā deva Arūpin. ah. :¯ Ahuko, Vipr.thuś c’ âiva, Gadah. , Sāran. a eva ca,.

Akrūrah. , Kr.tavarmā ca, Satyaka ś ca Śineh. sutah. .Bh̄ıs

.mako, ’th’ ˆ Akr

.tiś c’ âiva, Dyumatsena ́s ca v ̄ıryav ̄an,

Kekay ̄a ́s ca mah”Âes.v Āas̄a, Yaj̃nasena ́s ca Saumakih. ,Ketumān, Vasumām. ś c’ âiva, kr.t’Âastrā ́s ca mah̄a Abal̄ah. .ete c’ ânye ca bahavah. ks.atriy ̄a mukhya Asam. matāh.upāsate sabh̄ay ̄am. sma Kunt̄ıAputram. Yudhis.t.hiram.

Arjunam. ye ca sam. śritya r̄aja Aputrā mahā Abalāh.a ́siks

.anta dhanurAvedam

. raurav’Âajina Av ̄asasah

..

tatr’ âiva śiks.itā, r̄ajan, kumārā Vr.s.n. iAnandanāh. :Raukmin. eya ́s ca, S̄amba ́s ca, Yuyudh̄ana ́s ca S̄atyakih. ,.Sudharmā c’, ˆ Aniruddha ́s ca Śaibya ́s ca nara Apuṅgavah. .ete c’ ânye ca bahavo r̄ajānah. , pr.thiv ̄ıApate,Dhanam. jaya Asakhā c’ âtra nityam āste sma Tumburuh. .upāsate mah”Āatmānam ās̄ınam

. sapta Avim

. śatih

.,

Citrasenah. sah’ āmātyo, gandharv’Âapsarasas tath̄a,g ̄ıta Av ̄aditra Akuśal̄ah. s̄amya Atāla Avísāradāh. .

pramān. e ’tha laye sth̄ane Kinnar̄ah. kr.ta Aniśramāh.sam. codit̄as Tumburun. ā gandharva Asahit̄as tad̄a g ̄ayanti divya Atānais te yath̄a Any ̄ayam. manasvinah. ,Pān

.d.uAputrān r

.s.ı̄m

. ś c’ âiva ramayanta up̄asate.

tasy ̄am. sabh̄ay ̄am ās̄ınāh. suAvrat̄ah. * satya Asam. gar̄ah..div’ ı̂va dev ̄a Brahmān. am. , Yudhis.t.hiram upāsate.


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Vrishni youths handsome as gods: ´ Ahuka, V ́ıprithu, Gada, .Sárana, Akŕura, Krita·varman and Śatyaka, son of Shini.

Bh́ıshmaka and ´ Akriti were there, and brave Dyumat·se-na, Yajna·sena of the Śomakas, the K ́ekayas, renowned fortheir skill as bowmen, mighty V ásumat, procient in theuse of arms. . . these eminent kshatriyas, and many othersbesides, all waited upon Yudhi·shthira, son of Kunti, in thathall.

Formidable princes clad in deerskins approached ´ Arju-na to learn the science of archery along with the Vrishniyouths, R ́ukmini’s son, Yuyudh́ana the son of Śatyaki, Sa- .mba, Sudhárman, Anirúddha and Shaibya. These and many other kings were there, lord of the earth, as was Dhanan·ja-ya’s age-old friend T́umburu. Twenty-seven gandh́ arva s and´ apsaras es, led by Chitra·sena and his ministers, renownedfor their skills in rhythm and pitch, music and song, waitedon the great-souled hero as he sat.

The k ́ ınnara s too, were there: those experienced musi-cians, accompanied by the gandh́ arva s and encouraged by Túmburu, delighted the Ṕandavas and the sages in the hall with their heavenly voices and mastery of the rules of music.

Steadfast in their vows and true to their promises, they all . worshipped Yudhi·shthira in that hall as the gods worshipBrahma in heaven.


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5–12The Celestial Mansionsof the World Guardians


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´ ¯ uv ̄aca:

’ ôpavis.t.es.u Pān. d. aves.u mah”Āatmasu,.

mahatsu c’ ôpavis.t.es.u gandharves.u ca, Bh̄arata,

Ved’A Ôpanis.adām. vett̄a r.s.ih. sura Agan. ’Âarcitah. ,

itihāsa Apurān. a A jñah. , purā Akalpa Avíses.a Avit,

ny ̄aya Avid, dharma Atattva A jñah. , s.ad. Aa ̇nga Avid anAuttamah. ,aikya Asam. yoga Anānātva Asamav ̄aya Avísāradah. ,

vakt̄a pragalbho, medh̄av ̄ı, smr.timān, nayavit kavih. ,

par’Âapara Avibhāga A jñah. , pramān. a Akr.ta Aniścayah. ,

pa ̃nc’Âavayava Ayuktasya v ̄akyasya gun. a Ados.a Avit,.

uttar’Âottara Avakt̄a ca vadato ’pi Br.haspateh. ,

dharma Ak ̄am’Âartha Amoks.es.u yathāvat kr.ta Aniścayah. ,

tathā bhuvana Akośasya sarvasy’ âsya mah̄a Amatih. ,

pratyaks.a Adarś̄ı lokasya tiryag, ūrdhvam, adhas tath̄a,

Sām. khya A Yoga Avibhāga A jño, nirvivitsuh. sur’Âasur̄an,

sam. dhiAvigraha Atattva A jñas tv, anumāna Avibhāga Avit,

s.ād. gun. ya AvidhiAyukta ́s ca, sarva Ásāstra Avísāradah. ,yuddha Ag ̄andharva Asev ̄ı ca, sarvatr’ â Apratighas tath̄a,


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´ said:I , O Bhárata, where the great-souled Ṕa- .

ndavas and gandh́ arva s were seated, there came the celestialsageNárada. TheGods worshippedhim. He was a master of the Vedas and the Upanishads, a scholar of ancient tales andhistories;heknewthevicissitudesofformerworldcyclesand was skilled in logic; he possessed special insight into dharma and was thoroughly conversant with the Six Branches of theVeda.* He was an expert in unity, conjunction, diversity andinherence;* he was eloquent, brilliant, resolute and a greatpoet gifted with exceptional memory and political skill; in-cisive in his capacity to discriminate between good and bad,his opinions were authoritative; he had unique insight into .

the correctness or incorrectness of ve-part syllogisms and was capable of emerging the superior debater of Brihas·patihimself; his convictions were grounded in the Four Aimsof Life—Dharma, Pleasure, Wealth and Salvation—and hisintelligence comprehended all of the world’s treasures. He

could behold the whole universe—above, below, across—as if it were present before his own eyes; he was a masterof both Samkhya and Yoga philosophy, and loved to creatediscord between gods and demons; he was conversant withthe sciences of war and treaty and erudite in all branches of knowledge; he was skilled in the art of drawing conclusionson the basis of the six logical precepts, and a lover of both war and music: he was invariably undefeated.


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· ´ –

etaís c’ ânyaís ca bahubhir yukto gun. a Agan. air munih.lok ̄an anucaran sarv ̄an āgamat t̄am. sabh̄am, nr.pa,.Nāradah

. suAmahā Atejā r

.s.ibhih

. sahitas tad̄a,

Pārij̄atena, r̄aj’Âendra, Parvatena ca dh̄ımatā,Sumukhena ca Saumyena deva’Ars.ir amita Adyutih. .sabhā Asthān Pān. d. av ̄an dras.t.um. pr̄ıyamān. o manoA javah. jay’Āa ́s̄ırbhis tu tam. vipro dharma Arājānam ārcayat.

tam āgatam r.s.im. dr.s.t.v ̄a Nāradam. sarva Adharma Avit

sahas̄a Pān. d. ava Aśres.t.hah. pratyutthāy’ ânujaih. saha abhyav ̄adayata pr̄ıty ̄a vinay’Âavanatas tad̄a,

tadAarham āsanam. tasmai sam. pradāya yath̄a Avidhi.g ̄am. c’ âiva, madhuAparkam. ca sam. pradāy’, ârghyam eva ca,.arcay ̄am āsa ratnaís ca, sarva Ak ̄amaís ca dharma Avit.tutos.a ca, yath̄avac ca

pūjām. prāpya Yudhis.t.hiram,so ’rcitah. Pān. d. avaih. sarvairmaha”Ars.ir Veda Apāragah.

dharma Ak ̄am’Âartha Asam. yuktam.papracch’ êdam. Yudhis.t.hiram.

¯ uv ̄aca:«kac cid* arth̄a ́s ca kalpante? dharme ca ramate manah. ?

sukhāni c’ ânubhūyante? mana ́s ca na vihanyate?kac cid ācarit̄am. pūrvair, nara Adeva, Pit̄a Amahaih.vartase vr.ttim a Aks.udrām. dharm’Âartha Asahit̄am. tris.u?kac cid arthena v ̄a dharmam. , dharmen. ’ ârtham ath’ âpi v ̄a,ubhau v ̄a pr̄ıtiAsāren

.a na k ̄amena prab̄adhase?

kac cid artham. ca, dharmam. ca, k ̄amam. ca, jayat̄am. vara,.vibhajya k ̄ale k ̄ala A jñah. sad̄a, vara Ada, sevase?


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Nárada, celestial sage of immeasurable radiance andboundless vigor, who had traveled the length and breadthof all the worlds, who possessed these gifts and many othersbesides, entered the hall accompanied by various seers in- .cluding Parij́ata, wise Ṕarvata, Śumukha and Saumya. Thequick-thinking brahmin waslled with gladness at the sightof the Ṕandavas in the hall, and paid his respects to theDharma King with prayers for victory.

Seeing the learned sage arrive, the Best of the Pánda-vas, conversant with every propriety, promptly rose with hisbrothers and greeted him a ff ectionately with a courteousbow, before showing him to a worthy seat. He gave him .a cow and the customary off erings of honey, yogurt and water to drink, and also worshipped him with gems and all

kinds of other delights. Satised with the honor shown himby Yudhi·shthira and the other Ṕandavas, the great masterof the Vedas proceeded to raise with Yudhi·shthira variousquestions concerning Dharma, Pleasure and Wealth.

´ said:“Are you happy with the state of your a ff airs? Do you

take delight in Dharma? Do you enjoy pleasures? Is yourmind left unsettled by them? Do you choose the noble path,followed by your grandfathers before you, king of men, thatbest enables your subjects to pursue Wealth and Dharma? You do not impoverish Dharma for the sake of Wealth, or Wealth for the sake of Dharma, or both for the sake of Pleasure, which easily seduces? Greatest of conquerors, you . who understand time, do you always know how to divide


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· ´ –

kac cid r̄aja Agun. aih. s.ad. bhih. sapt’Âopāy ̄am. s tath”, ânagha,

bal’Âabalam. tathā samyak caturAda ́sa par̄ıks.ase?

kac cid ātmānam anv ̄ıks.ya, par̄am. ś ca, jayat̄am. vara,

tathā sam. dhāya, karm̄an. i as.t.au, Bhārata, sevase?

kac cit prakr.tayah. sapta na lupt̄a, Bharata’Ars.abha,

ād. hy ̄as tathā vyasaninah. * sv Aanuraktā ́s ca sarva śah. ?

kac cin na kr.takair dūtair, ye c’ âpy a Aparísa ̇nkitāh.

tvatto v ̄a, tava c’ âmātyair bhidyate mantritam. tathā?

mitr’Âodās̄ına Ásatrūn. ām. kac cid vetsi cik ı̄rs.itam?.

kac cit sam. dhim. yathā Ak ̄alam. , vigraham. c’ ôpasevase?

kac cid vr.ttim udās̄ıne, madhyame c’ ânuvartase?

kac cid ātma Asamā, vr.ddhāh. , śuddhāh. , sam. bodhana Aks.amāh. ,

kul̄ınā ́s c’, ânuraktā ́s ca kr.tās te, v ̄ıra, mantrin. ah. ?

vijayo mantra Amūlo hi r̄ajño bhavati, Bh̄arata.

kac cit sam. vr.ta Amantrais te am̄atyaih. śāstra Akovidaih.rās.t.ram. suAraks.itam. , tāta, śatrubhir na vilupyate?

kac cin nidr̄a Ava ́sam. n’ âis.i, kac cit k ̄ale vibudhyase?

kac cic c’ âpara Arātres.u cintayasy artham, artha Avit?

kac cin mantrayase n’ âikah. , kac cin na bahubhih. saha?.kac cit te mantrito mantro na r̄as.t.ram anudhāvati?


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your time between Dharma, Wealth and Pleasure to bestserve them all?

Faultless hero, do you practice the Seven Means withthe Six Royal Virtues;* do you examine your own strengthsand weaknesses and the Fourteen Ways of Politics? Greatestof conquerors, do you examine yourself and your enemiesbefore you make peace, and then pursue the Eight Occupa-tions? You do not neglect your seven chief ministers, and are

they still your devoted servants, uncorrupt despite all the wealth they have earned? Do your spies, ministers and youyourself not divulge your plans and deliberations? Do you .know the designs of your friends, strangers and enemies?

Do you wage war and make peace at the right times? Doyou follow anappropriate courseofaction toward those whoare neutral toward you? O hero, have you surrounded your-self with ministers who are like yourself—ministers whoare wise, honest, of noble birth, not hasty in judgment anddevoted to you? O Bh́arata, the victories of kings are rootedin sage advice.

Do your ministers, who keep their plans secret and arelearned in the great texts, protect your kingdom so that noenemy may seize it? You have not succumbed to a love of sleep, and wake up at the proper time? You who know how to conduct business, do you think about the tasks aheadeven in the small hours of the night? You settle no matter .either by yourself alone nor upon the advice of too many? And your plans do not leak out into the kingdom?


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kac cid arth̄an viníscitya laghuAmūlān, mah”Âoday ̄an,ks.ipram ārabhase kartum. , na vighnayasi t̄adr.śān?

kac cin na sarve karm̄antāh. paroks.ās te vísa ̇nkitāh. ?sarve v ̄a punar utsr.s.t.āh. , sam. sr.s.t.am. c’ âtra k ̄aran. am.āptair a Alubdhaih. kramikais te ca kac cid anus.t.hitāh. ?kac cid, r̄ajan, kr.tāny eva kr.ta Aprāy ̄an. i v ̄a punah.vidus te, v ̄ıra, karmān. i, n’ ânav ̄aptāni k ̄ani cit?kac cit k ̄aran. ik ̄a dharme, sarva Ásāstres.u kovid̄ah.k ̄arayanti kum̄arām. ś ca yodha Amukhy ̄am. ś ca sarva śah. ?kac cit sahasrair m̄urkhān. ām ekam. kr̄ın. āsi pan. d. itam?.

pan. d. ito hy artha Akr.cchres.u kury ̄an nih. śreyasam. param.

kac cid durg ̄an.i sarv ̄an

.i dhana Adhāny’Āayudh’Âodakaih

.,

yantraís ca parip̄urn. āni, tathā śilpiAdhanurAdharaih. ?eko ’py am̄atyo medh̄av ̄ı, śūro, dānto, vicaks.an. ah.rājānam. rāja Aputram. v ̄a prāpayen mahat̄ım. śriyam.kac cid as.t.āda ́s’ ânyes.u, sva Apaks.e da ́sa pa ̃nca ca,

tribhis tribhir avij̃nātair vetsi t̄ırthāni c̄arakaih. ?kac cid dvis.ām aviditah. , pratipanna ́s ca sarvad̄a,nitya Ayukto ripūn sarv ̄an v ̄ıks.ase, ripuAsūdana?kac cid vinaya Asam. pannah. , kula Aputro, bahuÁsrutah. ,.

anasūyur, anupras.t.ā, satAkr.tas te purohitah. ?

kac cid agnis.u te yukto vidhiA jño matimān r. juh. ?hutam. ca hos.yamān. am. ca k ̄ale vedayate sad̄a?


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kac cid a ̇nges.u nis.n. āto jyotis.ah. pratipādakah. ,utpātes.u ca sarves.u daiva A jñah. kuśalas tava?

kac cin mukhy ̄a mahatsv eva, madhyames.u ca madhyam̄ah. , jaghany ̄a ́s ca jaghanyes.u bhr.ty ̄ah. karmasu yojit̄ah. ?amāty ̄an upadh”Âat̄ıtān, pitr.Apaitāmahā ̃n śuc̄ın,śres.t.hā ̃n śres.t.hes.u kac cit tvam. niyojayasi karmasu?kac cin n’ ôgren. a dan. d. ena bhr.śam udvijase praj̄ah. ,rās.t.ram. tav’ ânuśāsanti mantrin. o, Bharata’Ars.abha?kac cit tv ̄am. n’ âvaj̄ananti y ̄ajak ̄ah. patitam. yathā,.ugra Apratigrah̄ıtāram. k ̄amay ̄anam iva striyah. ?

kac cid dhr.s.t.a ́s ca, śūra ́s ca, matim̄an, dhr.timā ̃n, śucih. ,kul̄ına ́s c’, ânurakta ́s ca, daks.ah. sen̄a Apatis tava?kac cid balasya te mukhy āh. sarva Ayuddha Avísāradāh. ,

dhr.s.t.’Âavad̄atā, vikr̄antās, tvay ̄a satAkr.tya mānitāh. ?kac cid balasya bhaktam. ca, vetanam. ca yath”Âocitamsam. prāpta Ak ̄ale d̄atavyam. dadāsi, na vikars.asi?k ̄al’Âatikraman. ād ete bhakta Avetanayor bhr.tāh.bhartuh. kurvanti daurgaty ̄at, so ’nAarthah. suAmahān smr.tah. ?

kac cit sarve ’nurakt̄as tv ̄am. kula Aputrāh. pradhānatah. ?

.

kac cit pr̄an. ām. s tav’ ârthes.u sam. tyajanti sad̄a yudhi?kac cin n’ âiko bahūn arthān sarva ́sah. s̄am. parāyik ̄an

anuśāsti yath̄a Ak ̄amam. k ̄am’Āatmā, śāsan’Âatigah. ?kac cit purus.a Ak ̄aren. a purus.ah. karma śobhayanlabhate mānam adhikam. , bhūyo v ̄a bhakta Avetanam?kac cid vidy ̄a Avin̄ıtām. ś ca nar̄a ̃n jñāna Avísāradānyath”Âarham. gun. ata ́s c’ âiva d̄anen’ âbhyupapadyase?


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Is your astrologer well versed in the Six Branches of theVeda, is he competent and adept at predicting events evenin uncertain times? Do you appoint the great to great of-ces, the mediocre to mediocre offices, and the lowly tolowly posts? Do you appoint those ministers who are pureand incorruptible to the best jobs—those ministers whosepurity is the equal of their fathers and grandfathers? Bullamong Bh́aratas, do your ministers govern your kingdom without punishing your subjects disproportionately? I hope .sacricers do not despise you like one who has lost caste, or women an amorous husband who is aggressive?

Is the commander of your forces bold, brave, quick- witted, resolute, adroit, of noble birth and devoted to you? Are the chief officers of your army strong and audacious,experienced in every aspect of warfare? Do you treat them

with special respect? Do you provide your troops with ade-quate food and wages and do you pay them on time? Do youknow the distress caused by providing soldiers with their ra-tions and wages late, and the problems they will cause theircommanders as a result? Are the young men from the most .eminent families of your kingdom loyal, and ready to lay

down their lives in battle for you?No single officer, out of egoism, exceeds his commandand rules army matters according to his whims? Do youtreat the man who performs a manly deed with special con-sideration, or reward him with extra rations and wages? Doyou off er gifts to men who are learned and erudite, accord-ing to their expertise and quality? Bull among Bháratas, doyou support the wives of those men who have died for yoursake or have otherwise come to grief? Partha, do you off er .


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kac cit sva Apara Arās.t.res.u bahavo ’dhikr.tās tava .arthān samanutis.t.hanti, raks.anti ca parasparam?

kac cid abhyavah̄ary ̄an. i, g ̄atra Asam. spaŕsanāni ca,ghrey ̄an. i ca, mah̄a Arāja, raks.anty anumatās tava?kac cit kósa ́s ca, kos.t.ham. ca, v ̄ahanam. , dv ̄aram, āyudham,āya ́s ca kr.ta Akaly ̄an. ais tava bhaktair anus.t.hitah. ?kac cid ābhyantarebhya ́s ca b̄ahyebhya ́s ca, vísām. pate,

raks.asy ātmānam ev’ âgre, t̄am. ś ca svebhyo, mitha ś ca t̄an?kac cin na p̄ane, dy ̄ute v ̄a, kr̄ıd. āsu, pramad̄asu ca pratijānanti pūrv’Âahn. e vyayam. vyasana A jam. tava?

kac cid āyasya c’ ârdhena, caturAbhāgena v ̄a punah. ,.pāda Abhāgais tribhir v” âpi vyayah. sam. śuddhyate tava?

kac cij j̃nāt̄ın, gurūn, vr.ddhān, van. ijah. , śilpinah. , śritānabhı̄ks.n. am anugr.hn. āsi dhana Adhānyena durgat̄an?kac cic c’ āyavyaye yukt̄ah. sarve gan. aka Alekhak ̄ah.anutis.t.hanti pūrv’Âahn. e nityam āyam. , vyayam. tava?kac cid arthes.u sam. praud. hān, hita Ak ̄amān, anupriy ̄an

n’ âpakars.asi karmabhyah. pūrvam a Aprāpya kilbis.am?kac cid viditv ̄a purus.ān uttam’Âadhama Amadhyamāntvam. karmasv anur̄upes.u niyojayasi, Bh̄arata?kac cin na lubdh̄a ́s, caur̄a v ̄a, vairin. o v ̄a, vísām. pate,.a Aprāpta Avyavah̄arā v ̄a tava karmasv anus.t.hitāh. ?

kac cin na caurair, lubdhair v ̄a, kumāraih. , str̄ıAbalena v ̄a,tvay ̄a v ̄a p̄ıd. yate r̄as.t.ram. ? kac cit tus.t.āh. kr.s.ı̄val̄ah. ?


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Are the reservoirs of your kingdom full and overowing,and are they evenly distributed throughout the land, so thatthesoilisnolongeratthemercyoftherains?Whenseedandfood are scarce, do you off er your farmers favorable loansat only a minor rate of interest? Are the professions in yourland occupied by honest people? It is upon these profes-sions that the well-being of the world depends! Do the ve .courageous wise men employed in the ve principal offices work together to create prosperity in your kingdom? To pro-tect the city, are the villages of your kingdom guarded liketowns, and the peripheral hamlets like villages? Are thievesand murderers inyour kingdomonthe run,pursued by yourtroops in the towns, on the plains and in the mountains?

Do you comfort women, and protect them well? You donot trust them, however, or divulge any secrets to them?Once you have listened to any business requiring urgentattention and dealt with it accordingly, do you retire to the women’s apartments to savor the delights of their company? When you have slept for the rst two watches of the night, .lord of the world, do you rise in the last to reect uponDharma and wealth? Son of Pandu, in the morning do yousummon your ministers, who understand the importanceof punctuality, only when you have risen in good time anddressed appropriately? Slayer of enemies, do properly attiredguardsinredcloaksattenduponyouswordinhandtowatchover your safety? After examining all evidence rigorously,do you behave like Yama himself toward those who deservepunishment and honor those who deserve respect, whetheryou like them or not?


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· ´ –

kac cic ch̄ar̄ıram ābādham aus.adhair, niyamena v ̄a,mānasam. vr.ddha Asev ̄abhih. sad̄a, Pārth’, âpakars.asi?

kac cid vaidy ̄a ́s cikits̄ay ̄am as.t.’Âa ̇ng ̄ay ̄am. vísāradāh. ,.suhr.da ́s c’, ânuraktā ́s ca śar̄ıre te hit̄ah. sad̄a?kac cin na lobh̄an, mohād v ̄a, mānād v” âpi, vísām. patearthiApratyarthinah. prāptān apāsyasi katham. cana?kac cin na lobh̄an, mohād v ̄a, vísrambhāt, pran. ayena v ̄a ā ́sritānām. manus.y ̄an. ām. vr.ttim. tvam. sam. run. atsi vai?kac cit paur̄a na sahit̄a, ye ca te r̄as.t.ra Av ̄asinah. ,tvay ̄a saha virudhyante paraih. kr̄ıtāh. katham. cana?kac cin na durbalah. śatrur balena parip̄ıd. itah. ,mantren

.a balav ̄an ka ́s cid, ubh̄abhy ̄am

. ca katham

. cana?

kac cit sarve ’nurakt̄as tv ̄am. bhūmiApāl̄ah. pradhānatah. ?.

kac cit pr̄an. ām. s tvadAarthes.u sam. tyajanti tvay” āhr.tāh. ?kac cit te sarva Avidy ̄asu gun. ato ’rc̄a pravartatebrāhman. ānām. ca s̄adhūnām. tava nih. śreyas̄ı, śubhā?

daks.in. ās tvam. dadāsy es.ām. nityam. svarg’Âapavarga Adāh. ?kac cid dharme tray ̄ıAmūle, pūrvair ācarite janaih.yatamānas tathā kartum. , tasmin karman. i vartase?kac cit tava gr.he ’nn̄ani sv ̄adūny a ́snanti vai dvij̄ah.gun. avanti gun. ’Âopetās tav’ âdhyaks.am. sa Adaks.in. am?

kac cit krat̄un eka Acitto V ̄ajapey ̄am. ś ca sarva śah. ,Pun. d. ar̄ık ̄am. ś ca k ̄artsnyena yatase kartum ātmav ̄an?


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Do you drive away ailments of the body with diets andmedicines, and ailments of the mind with the advice of

the aged, Partha? Are the physicians charged with looking .after your

mahabharata, book 2 [trans. wilmot] (nyu, 2006)

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