Kurukshetra: The Aryavarta Chronicles Book 3 by Krishna Udayasankar
Hachette. Pages:
xvi+436. Price: Rs. 350/-
The epic Mahabharata has had diverse avatars over a period of
time. The variegated versions provide a
rich spectrum of perspectives from Panchali’s to Bheema’s and Ghatotkachha’s, to
name just three. A number of writers and scholars have tried to come up with different
versions of the epic’s characters and plots, ranging from feminist to subaltern
narratives. In fact, the Mahabharata has been translated, interpreted
and re-imagined in so many ways at different points of time that it becomes
difficult to believe that there could possibly be any further scope for similar
efforts. However, Krishna Udayasankar’s trilogy surprises us, and pleasantly
so.
Contrary to the conventional tradition, the Kurukshetra war does not owe
its genesis to the Kaurava-Pandava rivalry in this volume. The Aryavarta
Chronicles trilogy provides an interesting skein of causes and consequences
involving rivalry between the Firstborns (scholars and seers with a conservative, almost regressive worldview) and Firewrights
(these too are scholars but also makers of sophisticated weaponry; they also are people with a scientific temper and progressive worldview) that leads to internecine warfare in the Aryavarta over
generations. Indeed, overweening ambitions and greed, along with the well-known
sibling rivalry, act as immediate triggers to the Kurukshetra war. Of course,
there were other contributing factors like Panchali aka Draupadi’s humiliation
and the consequent vengeance.
This book espouses feminist and subaltern causes, strongly advocating
egalitarianism. You find Abhimanyu’s wife Uttara’s fiery feminism matching
that of Panchali’s sense of pride in her individuality as a person. Uttara too asserts her individuality in an unambiguous manner.
There are other strong women, like Satya in Book 1 (Govinda) who chooses
to mate with Rishi Parashar and bear his son Krishna Dwaipayana Vyasa, or
Pritha aka Kunti whose story we all know. Among the subaltern characters,
although Vidur the Wise and Karn aka Vasusena are well delineated characters
even in the original epic, it is Hidimbya aka Ghatotkaccha whose character
stands out in sharp relief in this volume – unselfish, large hearted and loyal
but not without grievance against his Arya family. Govinda is depicted as the
proponent of egalitarianism, who in fact encourages rebellion against the
established order, described in this volume, Kurukshetra (Book 3), as
the Divine Order – the equivalent of today’s feudalism. Govinda wants to
replace the extant system with one wherein common people, especially the marginalized,
will have greater say in the affairs of the state among other things temporal.
Indeed, the author has refashioned the Kurukshetra War as much as a clash of
ideologies as of personalities, while depicting how the arrival of Kaliyuga
results in erosion of traditional value systems and worldviews.
The author has eschewed magic and miracle. The weaponry or astras are
shorn of divinity. Their composition is scientifically explained. There are no
divine beings – demons or demi-gods – only ordinary mortals who are slaves to
their passions and are caught up in a web of circumstances. The Rakshasas are
in fact those who live among/atop trees (Vrikshas). Govinda and Balbhadra are
mortals with extraordinary qualities of head and heart – although there is a
hint of romance between Govinda and Panchali that goes back in time to Narayana
and Sree. The makeover of Duryodhana (Syodhana in this volume) and Yudhishtir
too is fascinating. Udayasankar has considerably brightened Syodhana’s
character, making him far less evil than in the original version. At the same
time Yudhishter – frequently referred to as Dharma in this book – is shown as
irresolute and bit vain. The author has
introduced elements of mystery too, like the Secret Keeper, and the role of
Sanjaya as well as a skein of intrigue that is woven around the main
characters. The Uttara-Abhimanyu romance and consummation is another
fascinating ingredient. Indeed, Krishna Udayasankar has achieved all this while
keeping the narrative eminently readable. Although each of these volumes (Govinda,
Kauravas and Kurukshetra) is complete in itself as a novel, one
would get immense satisfaction after reading all the three volumes.
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