ANCIENT India, like ancient Greece, boasts of two great Epics. One of them, the Maha-bharata, relates to a great war in which all the warlike races of Northern India took a share, and may therefore be compared to the Iliad. The other, the Ramayana, relates mainly to the adventures of its hero, banished from his country and wandering for long years in the wildernesses of Southern India, and may therefore be compared to the Odyssey. It is the first of these two Epics, the Iliad of Ancient India, which is the subject of the foregoing pages.
The great war which is the subject of this Epic is believed to have been fought in the thirteenth or fourteenth century before Christ. For generations and centuries after the war its main incidents must have been sung by bards and minstrels in the courts of Northern India. The war thus became the centre of a cycle of legends, songs, and poems in ancient India, even as Charlemagne and Arthur became the centres of legends in mediæval Europe. And then, probably under the direction of some enlightened king, the vast mass of legends and poetry, accumulated during centuries, was cast in a narrative form and formed the Epic of the Great Bharata nation, and therefore called the Maha-bharata. The real facts of the war had been obliterated by age, legendary heroes had become the principal actors, and, as is invariably the case in India, the thread of a high moral purpose, of the triumph of virtue and the subjugation of vice, was woven into the fabric of the great Epic.
We should have been thankful if this Epic, as it was thus originally put together some centuries before the Christian era, had been preserved to us. But this was not to be. The Epic became so popular that it went on growing with the growth of centuries. Every generation of poets had something to add; every distant nation in Northern India was anxious to interpolate some account of its deeds in the old record of the international war; every preacher of a new creed desired to have in the old Epic some sanction for the new truths he inculcated. Passages from legal and moral codes were incorporated in the work which appealed to the nation much more effectively than dry codes; and rules about the different castes and about the different stages of the human life were included for the same purpose. All the floating mass of tales, traditions, legends, and myths, for which ancient India was famous, found a shelter under the expanding wings of this wonderful Epic; and as Krishna-worship became the prevailing religion of India after the decay of Buddhism, the old Epic caught the complexion of the times, and Krishna-cult is its dominating religious idea in its present shape. It is thus that the work went on growing for a thousand years after it was first compiled and put together in the form of an Epic; until the crystal rill of the Epic itself was all but lost in an unending morass of religious and didactic episodes, legends, tales, and traditions.
When the mischief had been done, and the Epic had nearly assumed its present proportions, a few centuries after Christ according to the late Dr. Bühler, an attempt was made to prevent the further expansion of the work. The contents of the Epic were described in some prefatory verses, and the number of couplets in each Book was stated. The total number of couplets, according to this metrical preface, is about eighty-five thousand. But the limit so fixed has been exceeded in still later centuries; further additions and interpolations have been made; and the Epic as printed and published in Calcutta in this century contains over ninety thousand couplets, excluding the Supplement about the Race of Hari.
The modern reader will now understand the reason why this great Epic—the greatest work of imagination that Asia has produced—has never yet been put before the European reader in a readable form. A poem of ninety thousand couplets, about seven times the size of the Iliad and the Odyssey put together, is more than what the average reader can stand; and the heterogeneous nature of its contents does not add to the interest of the work. If the religious works of Hooker and Jeremy Taylor, the philosophy of Hobbes and Locke, the commentaries of Blackstone and the ballads of Percy, together with the tractarian writings of Newman, Keble, and Pusey, were all thrown into blank verse and incorporated with the Paradise Lost, the reader would scarcely be much to blame if he failed to appreciate that delectable compound. A complete translation of the Maha-bharata therefore into English verse is neither possible nor desirable, but portions of it have now and then been placed before English readers by distinguished writers. Dean Milman’s graceful rendering of the story of Nala and Damayanti is still read and appreciated by a select circle of readers; and Sir Edwin Arnold’s beautiful translation of the concluding books of the Epic is familiar to a larger circle of Englishmen. A complete translation of the Epic into English prose has also been published in India, and is useful to Sanscrit scholars for the purpose of reference.
But although the old Epic has thus been spoilt by unlimited expansion, yet nevertheless the leading incidents and characters of the real Epic are still discernible, uninjured by the mass of foreign substance in which they are embedded—even like those immortal marble figures which have been recovered from the ruins of an ancient world, and now beautify the museums of modern Europe. For years past I have thought that it was perhaps not impossible to exhume this buried Epic from the superincumbent mass of episodical matter, and to restore it to the modern world. For years past I have felt a longing to undertake this work, but the task was by no means an easy one. Leaving out all episodical matter, the leading narrative of the Epic forms about one-fourth of the work; and a complete translation even of this leading story would be unreadable, both from its length and its prolixness. On the other hand, to condense the story into shorter limits would be, not to make a translation, but virtually to write a new poem; and that was not what I desired to undertake, nor what I was competent to perform.
There seemed to me only one way out of this difficulty. The main incidents of Epic are narrated in the original work in passages which are neither diffuse nor unduly prolix, and which are interspersed in the leading narrative of the Epic, as that narrative itself is interspersed in the midst of more lengthy episodes. The more carefully I examined the arrangement, the more clearly it appeared to me that these main incidents of the Epic would bear a full and unabridged translation into English verse; and that these translations, linked together by short connecting notes, would virtually present the entire story of the Epic to the modern reader in a form and within limits which might be acceptable. It would be, no doubt, a condensed version of the original Epic, but the condensation would be effected, not by the translator telling a short story in his own language, but by linking together those passages of the original which describe the main and striking incidents, and thus telling the main story as told in the original work. The advantage of this arrangement is that, in the passages presented to the reader, it is the poet who speaks to him, not the translator. Though vast portions of the original are skipped over, those which are presented are the portions which narrate the main incidents of the Epic, and they describe those incidents as told by the poet himself.
This is the plan I have generally adopted in the present work. Except in the three books which describe the actual war (Books viii., ix., and x.), the other nine books of this translation are complete translations of selected passages of the original work. I have not attempted to condense these passages nor to expand them; I have endeavoured to put them before the English reader as they have been told by the poet in Sanscrit. Occasionally, but rarely, a few redundant couplets have been left out, or a long list of proper names or obscure allusions has been shortened; and in one place only, at the beginning of the Fifth Book, I have added twelve couplets of my own to explain the circumstances under which the story of Savitri is told. Generally, therefore, the translation may be accepted as an unabridged, though necessarily a free translation of the passages describing the main incidents of the Epic.
From this method I have been compelled to depart, much against my wish, in the three books describing the actual war. No translation of an Epic relating to a great war can be acceptable which does not narrate the main events of the war. The war of the Maha-bharata was a series of eighteen battles, fought on eighteen consecutive days, and I felt it necessary to present the reader with an account of each day’s work. In order to do so, I have been compelled to condense, and not merely to translate selected passages. For the transactions of the war, unlike the other incidents of the Epic, have been narrated in the original with almost inconceivable prolixity and endless repetition; and the process of condensation in these three books has therefore been severe and thorough. But, nevertheless, even in these books I have endeavoured to preserve the character and the spirit of the original. Not only are the incidents narrated in the same order as in the original, but they are told in the style of the poet as far as possible. Even the similes and metaphors and figures of speech are all or mostly adopted from the original; the translator has not ventured either to adopt his own distinct style of narration, or to improve on the style of the original with his own decorations.
Such is the scheme I have adopted in presenting an Epic of ninety thousand Sanscrit couplets in about two thousand English couplets.
The excellent and deservedly popular prose translation of the Odyssey of Homer by Messrs. Butcher and Lang often led me to think that perhaps a prose translation of these selected passages from the Maha-bharata might be more acceptable to the modern reader. But a more serious consideration of the question dispelled that idea. Homer has an interest for the European reader which the Maha-bharata cannot lay claim to; as the father of European poetry he has a claim on the veneration of modern Europe which an Indian poet can never pretend to. To thousands of European readers Homer is familiar in the original, to hundreds of thousands he is known in various translations in various modern languages. What Homer actually wrote, a numerous class of students in Europe wish to know; and a literal prose translation therefore is welcome, after the great Epic has been so often translated in verse. The case is very different with the Maha-bharata, practically unknown to European readers. And the translators of Homer themselves gracefully acknowledge, “We have tried to transfer not all the truth about the poem, but the historical truth into English. In this process Homer must lose at least half his charm, his bright and equable speed, the musical current of that narrative, which, like the river of Egypt, flows from an undiscoverable source, and mirrors the temples and the palaces of unforgotten gods and kings. Without the music of verse, only a half truth about Homer can be told.”
Another earnest worker of the present day, who is endeavouring to interpret to modern Englishmen the thoughts and sentiments and poetry of their Anglo-Saxon ancestors, has emphatically declared that “of all possible translations of poetry, a merely prose translation is the most inaccurate.” “Prose,” says Mr. Stopford Brooke, further on, “no more represents poetry than architecture does music. Translations of poetry are never much good, but at least they should always endeavour to have the musical movement of poetry, and to obey the laws of the verse they translate.”
This appears to me to be a very sound maxim. And one of my greatest difficulties in the task I have undertaken has been to try and preserve something of the “musical movement” of the sonorous Sanscrit poetry in the English translation. Much of the Sanscrit Epic is written in the well-known Sloka metre of sixteen syllables in each line, and I endeavoured to choose some English metre which is familiar to the English ear, and which would reproduce to some extent the rhythm, the majesty, and the long and measured sweep of the Sanscrit verse. It was necessary to adopt such a metre in order to transfer something of the truth about the Maha-bharata into English, for without such reproduction or imitation of the musical movement of the original very much less than a half truth is told. My kind friend Mr. Edmund Russell impelled by that enthusiasm for Indian poetry and Indian art which is a part of him, rendered me valuable help and assistance in this matter, and I gratefully acknowledge the benefit I have derived from his advice and suggestions. After considerable trouble and anxiety, and after rendering several books in different English metres, I felt convinced that the one finally adopted was a nearer approach to the Sanscrit Sloka than any other familiar English metre known to me.
I have recited a verse in this English metre and a Sloka in presence of listeners who have a better ear for music than myself, and they have marked the close resemblance. I quote a few lines from the Sanscrit showing varieties of the Sloka metre, and comparing them with the scheme of the English metre selected.
—Maha-bharata, i. 5357.
- Ēshă Kūntīsŭtāh srīmān | ēshă mādhyămă Pāndăvăh
- Ēshă pūtrō Măhēndrāsyă | Kŭrūnām ēshă rākshĭtā
- Yēt Ĭ doūbt nŏt thrōugh t̆he āgĕs | ōne ĭncrēasĭng pūrpŏse rūns
- An̄d t̆he thōughts ŏf mēn ar̆e wīdenĕd | wīth t̆he prōcĕss ōf thĕ sūns
—Maha-bharata, i. 6974.
- Mālānchă sămŭpādāyă | kānchănīm sămălām kr̆itām
- Ăvătīrnā tătō rāngăm | Drāupădī Bhărătārshăbhă
—Belfry of Bruges.
- Vīsiŏns ōf th̆e dāys dĕpārtĕd | shādŏwy phāntŏms fīlled my̆ brāin;
- Thōse w̆ho līve ĭn hīstŏry ōnly̆ | sēēmed t̆o wālk th̆e eārth ăgāin
—Maha-bharata, ii. 1334.
- Ăsūryăm ĭvă sūryēnă | nīrvātăm ĭvĭ vāyŭnā
- Bhāsĭtām hlādĭtānchāivă | Krīshnēnēdām sădō hĭ năh
- Quāint ŏld tōwn ŏf toīl ănd trāffĭc | quāint ŏld tōwn ŏf ārt ănd sōng,
- Mēmoriĕs hāunt thy̆ pōintĕd gāblĕs, | līke th̆e rōōks th̆at roūnd th̆ee th̄rong.
—Maha-bharata, ii. 2610.
- Hā Pāndō hā măhārājă | kvāsĭ kīm sămŭpēksh̆as̄e
- Pūtrān vĭvāsyătāh sādhūn | ărĭbhīr dyūtănīrjĭtān
—Lord of Burleigh.
- Īn hĕr eār hĕ whīspĕrs gāily̆, | Īf my̆ heārt by̆ sīgns căn tēll,
- Māidĕn Ī hăve wātched thĕe dāily̆, | Ānd Ĭ thīnk thŏu lōv’st mĕ wēll
It would be too much to assume that even with the help of this similarity in metres, I have been able to transfer into my English that sweep and majesty of verse which is the charm of Sanscrit, and which often sustains and elevates the simplest narration and the plainest ideas. Without the support of those sustaining wings, my poor narration must often plod through the dust; and I can only ask for the indulgence of the reader, which every translator of poetry from a foreign language can with reason ask, if the story as told in the translation is sometimes but a plain, simple, and homely narrative. For any artistic decoration I have neither the inclination nor the necessary qualification. The crisp and ornate style, the quaint expression, the chiselled word, the new-coined phrase, in which modern English poetry is rich, would scarcely suit the translation of an old Epic whose predominating characteristic is its simple and easy flow of narrative. Indeed, the Maha-bharata would lose that unadorned simplicity which is its first and foremost feature if the translator ventured to decorate it with the art of the modern day, even if he had been qualified to do so.
For if there is one characteristic feature which distinguishes the Maha-bharata (as well as the other Indian Epic, the Ramayana) from all later Sanscrit literature, it is the grand simplicity of its narrative, which contrasts with the artificial graces of later Sanscrit poetry. The poetry of Kalidasa, for instance, is ornate and beautiful, and almost scintillates with similes in every verse; the poetry of the Maha-bharata is plain and unpolished, and scarcely stoops to a simile or a figure of speech unless the simile comes naturally to the poet. The great deeds of godlike kings sometimes suggest to the poet the mighty deeds of gods; the rushing of warriors suggests the rushing of angry elephants in the echoing jungle; the flight of whistling arrows suggests the flight of sea-birds; the sound and movement of surging crowds suggest the heaving of billows; the erect attitude of a warrior suggests a tall cliff; the beauty of a maiden suggests the soft beauty of the blue lotus. When such comparisons come naturally to the poet, he accepts them and notes them down, but he never seems to go in quest of them, he is never anxious to beautify and decorate. He seems to trust entirely to his grand narrative, to his heroic characters, to his stirring incidents, to hold millions of listeners in perpetual thrall. The majestic and sonorous Sanscrit metre is at his command, and even this he uses carelessly, and with frequent slips, known as arsha to later grammarians. The poet certainly seeks for no art to decorate his tale, he trusts to the lofty chronicle of bygone heroes to enchain the listening mankind.
And what heroes! In the delineation of character the Maha-bharata is far above anything which we find in later Sanscrit poetry. Indeed, with much that is fresh and sweet and lovely in later Sanscrit poetry, there is little or no portraiture of character. All heroes are cast much in the same heroic mould; all love-sick heroines suffer in silence and burn with fever, all fools are shrewd and impudent by turns, all knaves are heartless and cruel and suffer in the end. There is not much to distinguish between one warrior and another, between one tender woman and her sister. In the Maha-bharata we find just the reverse; each hero has a distinct individuality, a character of his own, clearly discernible from that of other heroes. No work of the imagination that could be named, always excepting the Iliad, is so rich and so true as the Maha-bharata in the portraiture of the human character,—not in torment and suffering as in Dante, not under overwhelming passions as in Shakespeare,—but human character in its calm dignity of strength and repose, like those immortal figures in marble which the ancients turned out, and which modern sculptors have vainly sought to reproduce. The old Kuru monarch Dhrita-rashtra, sightless and feeble, but majestic in his ancient grandeur; the noble grandsire Bhishma, “death’s subduer” and unconquerable in war; the doughty Drona, venerable priest and vengeful warrior; and the proud and peerless archer Karna—have each a distinct character of his own which cannot be mistaken for a moment. The good and royal Yudhishthir, (I omit the final a in some long names which occur frequently), the “tiger-waisted” Bhima, and the “helmet-wearing” Arjun are the Agamemnon, the Ajax, and the Achilles of the Indian Epic. The proud and unyielding Duryodhan, and the fierce and fiery Duhsasan stand out foremost among the wrathful sons of the feeble old Kuru monarch. And Krishna possesses a character higher than that of Ulysses; unmatched in human wisdom, ever striving for righteousness and peace, he is thorough and unrelenting in war when war has begun. And the women of the Indian Epic possess characters as marked as those of the men. The stately and majestic queen Gandhari, the loving and doting mother Pritha, the proud and scornful Draupadi nursing her wrath till her wrongs are fearfully revenged, and the bright and brilliant and sunny Subhadra,—these are distinct images pencilled by the hand of a true master in the realm of creative imagination.
And if the characters of the Maha-bharata impress themselves on the reader, the incidents of the Epic are no less striking. Every scene on the shifting stage is a perfect and impressive picture. The tournament of the princes in which Arjun and Karna—the Achilles and Hector of the Indian Epic—first met and each marked the other for his foe; the gorgeous bridal of Draupadi; the equally gorgeous coronation of Yudhishthir and the death of the proud and boisterous Sisupala; the fatal game of dice and the scornful wrath of Draupadi against her insulters; the calm beauty of the forest life of the Pandavs; the cattle-lifting in Matsyaland in which the gallant Arjun threw off his disguise and stood forth as warrior and conqueror; and the Homeric speeches of the warriors in the council of war on the eve of the great contest,—each scene of this venerable old Epic impresses itself on the mind of the hushed and astonished reader. Then follows the war of eighteen days. The first few days are more or less uneventful, and have been condensed in this translation often into a few couplets; but the interest of the reader increases as he approaches the final battle and fall of the grand old fighter Bhishma. Then follows the stirring story of the death of Arjun’s gallant boy, and Arjun’s fierce revenge, and the death of the priest and warrior, doughty Drona. Last comes the crowning event of the Epic, the final contest between Arjun and Karna, the heroes of the Epic, and the war ends in a midnight slaughter and the death of Duryodhan. The rest of the story is told in this translation in two books describing the funerals of the deceased warriors, and Yudhishthir’s horse-sacrifice.
“The poems of Homer,” says Mr. Gladstone, “differ from all other known poetry in this that they constitute in themselves an encyclopædia of life and knowledge; at a time when knowledge, indeed, such as lies beyond the bounds of actual experience, was extremely limited, and when life was singularly fresh, vivid, and expansive.” This remark applies with even greater force to the Maha-bharata; it is an encyclopædia of the life and knowledge of Ancient India. And it discloses to us an ancient and forgotten world, a proud and noble civilisation which has passed away. Northern India was then parcelled among warlike races living side by side under their warlike kings, speaking the same language, performing the same religious rites and ceremonies, rejoicing in a common literature, rivalling each other in their schools of philosophy and learning as in the arts of peace and civilisation, and forming a confederation of Hindu nations unknown to, and unknowing the outside world. What this confederation of nations has done for the cause of human knowledge and human civilisation is a matter of history. Their inquiries into the hidden truths of religion, embalmed in the ancient Upanishads, have never been excelled within the last three thousand years. Their inquiries into philosophy, preserved in the Sankhya and the Vedanta systems, were the first systems of true philosophy which the world produced. And their great works of imagination, the Maha-bharata and the Ramayana will be placed without hesitation by the side of Homer by critics who survey the world’s literatures from a lofty stand-point, and judge impartially of the wares turned out by the hand of man in all parts of the globe. It is scarcely necessary to add that the discoveries of the ancient Hindus in science, and specially in mathematics, are the heritage of the modern world; and that the lofty religion of Buddha, proclaimed in India five centuries before Christ, is now the religion of a third of the human race.
For the rest, the people of modern India know how to appreciate their ancient heritage. It is not an exaggeration to state that the two hundred millions of Hindus of the present day cherish in their hearts the story of their ancient Epics. The Hindu scarcely lives, man or woman, high or low, educated or ignorant, whose earliest recollections do not cling round the story and the characters of the great Epics. The almost illiterate oil-manufacturer or confectioner of Bengal spells out some modern translation of the Maha-bharata to while away his leisure hour. The tall and stalwart peasantry of the North-West know of the five Pandav brothers, and of their friend the righteous Krishna. The people of Bombay and Madras cherish with equal ardour the story of the righteous war. And even the traditions and tales interspersed in the Epic, and which spoil the work as an Epic, have themselves a charm and an attraction; and the morals inculcated in these tales sink into the hearts of a naturally religious people, and form the basis of their moral education. Mothers in India know no better theme for imparting wisdom and instruction to their daughters, and elderly men know no richer storehouse for narrating tales to children, than these stories preserved in the Epics. No work in Europe, not Homer in Greece or Virgil in Italy, not Shakespeare or Milton in English-speaking lands, is the national property of the nations to the same extent as the Epics of India are of the Hindus. No single work except the Bible has such influence in affording moral instruction in Christian lands as the Maha-bharata and the Ramayana in India. They have been the cherished heritage of the Hindus for three thousand years; they are to the present day interwoven with the thoughts and beliefs and moral ideas of a nation numbering two hundred millions.
- University College, London,
13th August 1898
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