Duryodhana is the most tragic persona in Sanskrit classics; more sinned against than sinning; hugely misunderstood and a victim of biased abridgement. Sawkar throws light on a number of his less known but authentic events in his short life of thirty-eight years. Of maximal interest are his forceful arguments in support of his claim to succession; and his relationship with Subhadra; Sawkar's fictionalization based on logicality.
In this award-winning novel, Tharoor has masterfully recast the two-thousand-year-old epic, The Mahabharata, with fictional but highly recognizable events and characters from twentieth-century Indian politics. Nothing is sacred in this deliciously irreverent, witty, and deeply intelligent retelling of modern Indian history and the ancient Indian epic The Mahabharata. Alternately outrageous and instructive, hilarious and moving, it is a dazzling tapestry of prose and verse that satirically, but also poignantly, chronicles the struggle for Indian freedom and independence.
Duryodhana: The Prince Who Would Be King ... The popular tellings of the Mahabharata are about Duryodhana's deviousness, obstinacy and greed for power that would bring about the battle of Kurukshetra between the Kauravas and the Pandavas, and his own downfall. But was there more to him? Was he all black, or was it a matter of shades of grey? What was he? True heir or pretender to the throne? Arch villain or brave prince defending his rajadharma? Ace strategist or wicked schemer? History, they say, is written by the victors. So we have never heard the side that Duryodhana presents. The epic's enigmatic villain finally has his say - on people, their motives and their machinations. For the first time we read a different meaning into episodes we may be familiar with - be it the attempted killing of Bhima, the burning of the wax house, the famous game of dice or even Draupadi's vastraharan - and get insights into the story we may not have come across before. Here is the crown prince of Hastinapura as we have never known him, adding yet another dimension to the labyrinth that is the Mahabharata.
THE MAHABHARATA ENDURES AS THE GREAT EPIC OF INDIA. But while Jaya is the story of the Pandavas, told from the perspective of the victors of Kurukshetra; Ajaya is the narrative of the ÔunconquerableÕ Kauravas, who were decimated to the last man. At the heart of IndiaÕs most powerful empire, a revolution is brewing. Bhishma, the noble patriarch of Hastinapura, is struggling to maintain the unity of his empire. On the throne sits Dhritarashtra, the blind King, and his foreign-born Queen Ð Gandhari. In the shadow of the throne stands Kunti, the Dowager-Queen, burning with ambition to see her firstborn become the ruler, acknowledged by all. And in the wings: Parashurama, the enigmatic Guru of the powerful Southern Confederate, bides his time to take over and impose his will from mountains to ocean. Ekalavya, a young Nishada, yearns to break free of caste restrictions and become a warrior. Karna, son of a humble charioteer, travels to the South to study under the foremost Guru of the day and become the greatest archer in the land. Balarama, the charismatic leader of the Yadavas, dreams of building the perfect city by the sea and seeing his people prosperous and proud once more. Takshaka, guerilla leader of the Nagas, foments a revolution by the downtrodden as he lies in wait in the jungles of India, where survival is the only dharma. Jara, the beggar, and his blind dog Dharma, walk the dusty streets of India, witness to people and events far greater than they, as the Pandavas and the Kauravas confront their searing destinies. Amidst the chaos, Prince Suyodhana, heir of Hastinapura, stands tall, determined to claim his birthright and act according to his conscience. He is the maker of his own destiny Ð or so he believes. While in the corridors of the Hastinapura palace, a foreign Prince plots to destroy India. And the dice fallsÉ
"THE MAHABHARATA ENDURES AS THE GREAT EPIC OF INDIA. While Jaya is the story of the Pandavas, told from the perspective of the victors of Kurukshetra, Ajaya is the tale of the Kauravas, who were decimated to the last man. From the pen of the author who gave voice to Ravana in the national bestseller, ASURA, comes the riveting narrative which compels us to question the truth behind the Mahabharata. THE DARK AGE OF KALI IS RISING and every man and woman must choose between duty and conscience, honour and shame, life and death… o The Pandavas, banished to the forest following the disastrous games of dice, return to Hastinapura. o Draupadi has vowed not to bind her hair till she washes it in the blood of the Kauravas. o Karna must choose between loyalty and gratitude, friend and Guru. o Aswathama undertakes a perilous mission to the mountains of Gandhara, in search of the Evil One. o Kunti must decide between her firstborn and her other sons. o Guru Drona has to stand with either his favourite disciple or his beloved son. o Balarama, having failed to convince his brother about the adharma of violence, walks the streets of Bharatavarsha, spreading the message of peace. o Ekalavya is called to make the ultimate sacrifice to uphold a woman’s honour. o Jara, the beggar, sings of Krishna’s love while his blind dog, Dharma, follows. o Shakuni can almost see the realization of his dream to destroy India. As the Pandavas stake their claim to the Hastinapura throne, the Kaurava Crown Prince, Suyodhana, rises to challenge Krishna. As great minds debate dharma and adharma, power hungry men prepare for an apocalyptic war. The women, highborn and humble, helplessly watch the unfolding disaster with deep foreboding. And greedy merchants and unscrupulous priests lie in wait like vultures. Both sides know that beyond the agony and carnage the winner will take all. But even as gods conspire and men’s destinies unfold, a far greater truth awaits. ***** One of the six most remarkable writers of India. DNA An Amazing read. The WEEK Unique voice of a rebellious author telling the story from the other side, a feat a few have dared or managed so well. Bihar Times"
The Mahabharata of Krishna-Dwaipayana Vyasa Translated into English Prose Adi Parva by Kisari Mohan Ganguli 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. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Mahabharat is such a great saga, such a great book that has all the essence of life, present in it. This has love, hate, conspiracy, friendship, hatred, loyalty, treachery and all other such emotions. Before the great war of Mahabhrat, the great continent of India was full of brave hearts and warriors, but after the war was over, only a few warriors survived in this land. This war of Mahabharat was the result of two pledges; one that was taken by Pitamah Bhisma and the other pledge that was taken by the ruler of Gandhar, Shakuni. If Bhisma Pitamah had not taken the pledge that he would not sit on the throne, there would have been no chance that this war would have happened and if Shakuni had not taken the pledge that he would destroy the Kuru dynasty, then he would have never left Gandhar and come to Hastinapur; this would ensure that the seed of enmity between the Kauravas and Pandavas would have never grown. The situational pledges that were taken by Bhisma and Shakuni, later on turned into a curse for them. The almighty created such a situation, that both of them started regretting their decisions of taking such pledges. Shakuni never knew that, the sister he loved more that his life would one day be married to the same kuru dynasty, whose destruction has been pledged by him. I have tried to enlighten many unknown facts about the life of Shakuni so that the readers could know more and more about Shakuni. This is my first composition and I would like to dedicate this to, not only my late heavenly mother, but all other mothers too. Since father, brother and other such relations can be formed again, but the selfless love of a mother, once lost can never be found again. The pain of losing one’s mother in childhood and not finding mother like love again, stays with you forever like emptiness. Maybe this pain encourages me to hold the pen and start writing.
Ved Vyasa did not write the Mahabharata. The epic that he wrote was called Jaya-Samhita. Containing some 8800 verses, it was a treatise on war and politics. It contained the truth about the Kurukshetra war. The word Jaya means victory and Samhita means collection. As the name implies, it explained the principles of victory. It answered the fundamental question, why some people win while others lose? The Mahabharata on the other hand is a combination of two words, the Maha meaning great and Bharata refers to Arjuna. The word Mahabharata when literally translated means the great Bharata or Arjuna. As is apparent by the name itself, it was written with the sole intention of glorifying Arjuna. The Mahabharata of today is the corrupt form of Jaya-Samhita. However, if one studies the Mahabharata minus the legends and supernatural phenomenon, replacing these with simple, scientific explanations then the original Jaya-Samhita reveals itself in all its glory. Buried somewhere under the 100,000 verses of the Mahabharata are the 8800 verses of the original Jaya-Samhita. This book is an attempt to unearth the truth. It is a modern interpretation of the Mahabharata. It is based on the Mahabharata but it is not the Mahabharata.
The Mahabharata is one of the greatest stories ever told. Though the basic plot is widely known, there is much more to the epic than the dispute between Kouravas and Pandavas that led to the battle in Kurukshetra. It has innumerable sub-plots that accommodate fascinating meanderings and digressions, and it has rarely been translated in full, given its formidable length of 80,000 shlokas or couplets. This magnificent 10- volume unabridged translation of the epic is based on the Critical Edition compiled at the Bhandarkar Oriental Research Institute. The fourth volume of the Mahabharata includes Virata Parva and almost all of Udyoga Parva. It describes the Pandavas thirteenth year of exile which they spend in disguise in King Virata s court. When, during their stay, the Kouravas and Trigartas invade Matsya to rob Virata of his cattle, the Pandavas defeat them in battle. With the period of banishment over, the Pandavas ask to be returned their share of the kingdom. This is refused and Udyoga Parva recounts the preparations for the inevitable war. Every conceivable human emotion figures in the Mahabharata, the reason why the epic continues to hold sway over our imagination. In this lucid, nuanced and confident translation, Bibek Debroy makes the Mahabharata marvellously accessible to contemporary readers.
