The _Mahabharata _is at once an archive and a living text, a sourcebook complete by itself and an open text perennially under construction. Driving home this striking contemporary relevance of the famous Indian epic, _Mahabharata Now _focuses on the issues of narration, aesthetics and ethics, as also their interlinkages. The cross-disciplinary essays in the volume imaginatively re-interpret the ‘timeless’ classic in the light of the pre-modern Indian narrative styles, poetics, aesthetic codes, and moral puzzles; the Western theories on modern ethics, (...) aesthetics, metaphysics, psychoanalysis, and philosophy of science; and the contemporary social, ethical and political concerns. The essays are all united in their effort to situate the _Mahabharata_ in the context of _here _and _now _without violating the sanctity of the ‘written text’ as we have it today. The book will be of interest to scholars and students of Indian and comparative philosophy, Indian and comparative literature, cultural studies, and history. (shrink)

The study of philosophical terms and doctrines in the Mahābhārata touches not only on important aspects of the contents, composition and the historical contexts of the epic, but also on the historiography of Indian philosophy. General ideas about the textual history of the epic and the distinction between “didactic” and “narrative” parts have influenced the study of epic philosophy no less than academic discussions about what is philosophy in India and how it developed. This results in different evaluations of the (...) place of philosophical texts in the epic and their relationship to the history of Indian philosophy. While some scholars have suggested that there is a “philosophy of the epic” its composers wished to propagate, others have argued that “philosophy” is included in the epic either in a “proto” form or in a variety of doctrines they deemed relevant. The article discusses these views and some of the heuristic assumptions on which they are based. It proposes to widen the scope of analysis by paying more attention to the interplay of narrative and didactic passages, the various ways in which philosophy is presented in the epic, and its connection to a larger spectrum of the reception of philosophy in textual genres and by audiences outside the expert circles of the philosophical schools. (shrink)

SUMMARYA discussion of Western notions of ‘sacrifice’ can benefit from descriptions of non-Western understandings of ‘sacrifice’, in the sense that non-Western understandings of ‘sacrifice’ introduce aspects and dimensions into the debate that may not have been fully taken into account so far. In order to find out whether the Indian case confirms Western scholarly theories of religious sacrifice, ideas and practices regarding sacrifice in the Mahābhārata epic and in the Bhagavadgītā will be confronted with several of these theories, in particular (...) some current in cultural anthropology and religious studies which focus on gift exchange, self-sacrifice or violence. A conjectural conclusion as to why human beings sacrifice in general will be drawn at the very end of this essay in comparative religion. (shrink)

The complexity and fluidity of emotions in the epic of Mahābhārata present before us an interesting case for delving into the phenomenology of emotions. In the rationalist tradition of Kant, emotions are considered as an impediment to moral discernment. The rationalist account of emotions considers it as an animal instinct which needs to be controlled through the exercise of Reason. The paper problematizes the rationalist interpretation of emotions mainly on two counts. First, it ignores the evaluative content of the emotions (...) and considers it as a non-cognitive element. Second, it also overlooks the productive role of various emotions like guilt, shame, remorse in moral deliberation. The paper critically analyzes the episode of Yudhiṣṭhira’s grief in Śānti Parva and argues that the grief of Yudhiṣṭhira cannot be explained as personal loss. Rather, Yudhiṣṭhira’s grief should be understood as a case of moral conflict where a moral agent finds it difficult to justify his moral choices. Yudhiṣṭhira’s analysis of the futility of war and the condemnation of violence should be understood as the evaluative perspective offered by his emotions. The phenomenological analysis of Yudhiṣṭhira’s grief allows us to understand the significance of emotions in constituting the moral perspective on any conflicting situation. Hence, emotions cannot be relegated to the domain of irrationality rather they become the site where the truth unveils itself. (shrink)

The Mahabharata, one of the major epics of India, is a sourcebook complete by itself as well as an open text constantly under construction. This volume looks at transactions between its modern discourses and ancient vocabulary. Located amid conversations between these two conceptual worlds, the volume grapples with the epic's problematisation of dharma or righteousness, and consequently, of the ideal person and the good life through a cluster of issues surrounding the concept of agency and action. Drawing on several interdisciplinary (...) approaches, the essays reflect on a range of issues in the Mahabharata, including those of duty, motivation, freedom, selfhood, choice, autonomy, and justice, both in the context of philosophical debates and their ethical and political ramifications for contemporary times. This book will be of interest to scholars and researchers engaged with philosophy, literature, religion, history, politics, culture, gender, South Asian studies, and Indology. It will also appeal to the general reader interested in South Asian epics and the Mahabharata. (shrink)

The Mahabharata, an Indian epic poem, describes a legendary war between two sides of a royal family. The epic’s plot involves numerous moral dilemmas that have intrigued and perplexed scholars of Indian literature. Many of these dilemmas revolve around a character named Krsna. Krsna is a divine incarnation and a self-proclaimed upholder of dharma, a system of social and religious duties central to Hindu ethics. Yet, during the war, Krsna repeatedly encourages his allies to use tactics that violate dharma. In (...) this paper, I try to make sense of Krsna’s actions by analyzing them in terms of categories from Western moral philosophy. I show that Krsna seems to embrace an ethical approach called consequentialism, but that his version of consequentialism differs from Western theories of consequentialism by seeing adherence to dharma as an intrinsic good. (shrink)

"This book on Ethics draws upon the words of wisdom found in the Mahabharata, following the spirit of Bernard Williams' proposal that we look for inspiration for the modern-day ethical understanding in the ideas of the past. In elucidating the literary and religious meaning of the Mahabharata, the author probes for the ethical and epistemological truth it contains, in the frame of reference of the uniquely Indian variety of existentialism. In the process he has not only come to an understanding (...) of the principle of morality, along with the relation holding among Satya (Factual Truth), Rta (Truth as Value) and Dharma (Righteousness in Conduct), but has come up with observations that shed fresh light on the analysis of the epic itself."--BOOK JACKET. (shrink)

This article deals with the concept of greed as pertaining to Business Ethics in today’s world, considered part of the system of the study Ethics as such, in the backdrop of the recent happenings in the financial world in the USA, whose repercussions have been felt all over. The analysis draws inspiration from the words in the Mahabharata, both with a view to improving the existing theories in place in the West today, as well as having a handle on greed (...) management so needed to set liberalism on the right footing. The article brings into focus the secular spirituality imbedded in the epic relating to the concept harmony, without recourse to God parlance, a virtue around which the ethical considerations move, bringing a needed improvement on the Virtue Ethics of today, and harmonizing the three conflicting ethical theories of the day. Greed management is effective only when we look beyond science to the area of values putting the right emphasis on Virtue Ethics. (shrink)

Selections from the first two parvas, or books, of the classic epic of Hinduism. The translation is that of Pandit Kesare Maham Ganguli, made for the Pratapa Chunder Raya edition of 1883. A glossary of terms is included.--D. R.

The account of the conversation between King Janaka and the Ṛṣi Pañcaśikha on the fate of the individual after death is one of the philosophical texts that are included in the Mokṣadharmaparvan of the Mahābhārata. There are different scholarly views on the history and composition of the text as well as the philosophical teachings propagated by Pañcaśikha. In contrast to earlier studies this paper not only analyzes the whole text, but also pays attention to the narrative framework in which the (...) philosophical discourse is embedded. In the text Bhīṣma functions as an external narrator, who relates and interprets the conversation as well as characterizes the protagonists and thereby influences the ways in which text is received by the audience. It is argued that it is important to deal with the interplay between the narrative and the philosophical discourse that is narrated, when analysing the philosophical positions that are either refuted or accepted in the text. 12.211–12 is not only a philosophical text, but also a tale about philosophical discourse in general and about how Sāṃkhya philosophy is taught to a non-expert audience. Seen from this perspective the text is significant for the way in which philosophical terms and issues are dealt with in the epic and adjacent non-expert texts, such as the Purāṇas. (shrink)

Moral and ethical aspects in Mahabharata and Ramayana epics.

The article seeks to answer the question: Why should I be ethical? For an answer, it examines Mahabharata, the ancient Indian epic. It seeks to explore the complex ethical issues posed by Mahabharata, how they are relevant to us as individuals and to us as managers and teachers of management in business schools and enables us to understand how possibly we could use the insights to better our lives and of those around us. Mahabharata’s central message, concludes the article, is (...) that ethics is not for convincing anyone; it is about convincing oneself. Mahabharata tells us that ethics is what makes life meaningful, at the individual level, group level and at the level of society, and cannot be justified in a consequentialist framework. (shrink)

The present paper explores and analyzes one intriguing form of death called self-willed death (Icchā maraṇa) as depicted in Mahābhārata in light of the contemporary debate between Bruce Sullivan and Phillip Ernest about the distinction between yogayukta and non-yogayukta forms of it. In the first part, the paper presents Sullivan’s distinction between yogayukta, one with disenchantment, world-weariness, and detachment with that of non-yogayukta, the one attached to glory, honor, and power which is contested by Ernest. While taking the debate further, (...) the paper argues that proper understanding of the concept of Icchā maraṇa requires a deeper analysis of the distinction between ‘will’ and ‘self-will’ and adequate study of the conception of life and death that the epic depicts. After taking up these two tasks in the second and third parts, the fourth section assesses the debate in light of the above two sections analysis. It argues that ‘self-will’ is an expression of freedom where the individual prescribes conditions, unlike the ordinary ‘will’ where choice is between available alternatives. This distinction leads us to the death of Bhīṣma, which is Icchā maraṇa in its presented form that moves beyond the distinction available in the debate between Sullivan and Ernest. (shrink)

This paper pursues precise information on the use of the Sanskrit word buddhi, “the intellect,” in the context of epic adhyātma discourse. The term buddhi makes its debut in this genre of discourse in texts of the Mahābhārata’s Mokṣadharmaparvan before going on to become a central term of classical Sāṃkhya philosophy. This paper examines closely the presence and role of the “intellect” in the argument of the Manubṛhaspatisaṃvāda, a text that is unusually rich in its theorizing and description of the (...) intellect. But this text is not primarily about the intellect, even if that organ plays a prominent role in the three main phases of the text’s teaching. The Manu-Bṛhaspati is a major, deliberately constructed body of teaching on ethics, ontology, and psychology, and what it says regarding the buddhi is embedded in those teachings, usually, but not always, incidentally. This paper tries to grasp those teachings in their particular idiom and present Manu’s teachings on the buddhi in the natural progression and settings of the overall argument. A number of points comparing the buddhi in this text to the adhyātma text-pair of MBh 12.187/239–41 are made and a striking contrast between Manu’s buddhi and the ‘saving buddhis’ of the early Mokṣadharma is discussed briefly. The main points regarding the buddhi in Manu’s teachings turn out to be: First, and most importantly, the buddhi has the ability not only to see and “resolve” current sensory experience coming from the senses and the mind, but to store those sensations and re-arrange and re-interpret them outside of ‘real time’. This ‘trans-temporal depth’ of the buddhi may be the reason for the second major fact about it, that the buddhi is the locus in a person from which that person’s residual energy from past deeds operates; the buddhi transmits that energy and its qualitative differentiations into the mind and the senses, entities that derive from it and operate “below” it. Third, the buddhi’s ability to select and arrange past perceptions and imagine not previously observed arrangements among them is the source of its fatefully erroneous substitution of the immediately present, phenomenal self of experience for the transcendent true Self. Fourth, the buddhi’s ability to imagine and re-interpret experience makes it the principal faculty for determining the truth of things that are not immediately apparent to the senses. Establishing the existence of the transcendent soul is the most important such truth, for that serves as the foundation for one’s eventually coming to see the true Self. Fifth, the buddhi works with the main perceptual organ, the mind, to clarify and then neutralize the operation of the senses, allowing yoga meditation to go forward. In the course of yoga meditation, when the buddhi is emptied of karma energy, the buddhi becomes “tantamount to the manas” and the ultimate reality is “seen, as if it were a streak of gold on a touchstone,” undoing the buddhi’s fateful error. Sixth, a point stressed in several places in the text, is that the entire embodied soul, which is basically led by the buddhi, is tremendously energetic in its rush down to the physical reality. It is not clear whether some of this energy is part of the original emanation of the principle of the embodied soul from the Absolute, but it is clear that some of it is the energy of karma stored in the “intellect.”. (shrink)

Selections from the first two parvas, or books, of the classic epic of Hinduism. The translation is that of Pandit Kesare Maham Ganguli, made for the Pratapa Chunder Raya edition of 1883. A glossary of terms is included.--D. R.

Argument and Designfeatures fifteen essays by leading scholars of the Sanskrit epics, the Mahābhārata and the Rāmāyaṇa, discussing the Mahābhārata's upākhyānas, subtales that branch off from the central storyline and provide vantage points for reflecting on it.

The Mahâbhârata is a fundamental reference for Indian culture. Because of its philosophical scope and encyclopaedic character it is in many respects universal, offering scope for study and comparison to those in the fields of law, ethnology, mythology, geography, the arts and philosophy. The authors sketch the conception of nature as it appears in several texts in the first volume: ‘The Sacrifice of Serpents’, ‘The Pilgrim’s Guide’, ‘Skanda’.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Dialogue with the Mahābhārata by Brian BlackKrishna Mani Pathak (bio)In Dialogue with the Mahābhārata. By Brian Black. New York: Routledge, 2021. Pp. xii + 2158. Paperback £38.99, isbn 978-0-367-43600-1. Brian Black's In Dialogue with the Mahābhārata is a brilliant book that exhibits three distinct features which can certainly help an inquiring mind understand not only the structure and nature of the text of the Mahābhārata but also (...) the meanings contained in it, alongside aspects of Hindu historiography. It investigates the text through literary, philosophical, and social perspectives that Black argues emerge in the dialogues over strī-dharma, puruṣa-dharma, and the social identity and status of women (see for example, pp. 117, 124, 130, 140). The work's literary character can be seen in Black's analysis of the text and its epical narratives. In this book, the story of the Mahābhārata is presented by Black as a web of narratives wherein every verbal encounter and dialogue among all the participating interlocutors refers to a specific meaning and (deterministic) role played by these divine and terrestrial characters as interlocutors: "All the main human characters are incarnations and/or descendants of divine figures…and [experience] intense emotional reactions to their own situations and the actions of others" (p. 5). For instance, most male and female characters in the narratives of the Mahābhārata, including Vyāsa (the author), who is said to have "the power of omniscience," and Kṛṣṇa, who is God Himself, help the readers extrapolate how the entire series of trailing events in the Mahābhārata is destined to happen. This is what Black highlights when he writes that "as author of the narrative, [Vyāsa's] appearances within it often move the story along, as well as offer lenses through which to understand its cosmic implications" and that he "draws on his omniscience to provide an explanation of the marriage that transcends the knowledge of ordinary humans" (p. 61). Further, Black emphasizes destiny's (active) role when he writes that "the story of Draupadī's previous birth invites reading the Mahābhārata as a karmic narrative in which the actions and decisions of characters create the conditions for subsequent events in the central story" (p. 76). Perhaps for this reason, Black highlights his methodological approach to the text and its literary character in the beginning of the book to explain that the Mahābhārata is more like a complex narrative than any other Hindu legend or mythology and is difficult to understand without contextualizing its dialogues and [End Page 1] their historical connections. Besides, the temporal aspect of the conversations between the characters is another literary condition to connect various sub-narratives to the main story. Black uses the term "dialogue" in three different ways while examining the text of the Mahābhārata, and this is how he proposes the text should be explored by the inquisitive mind:I understand the term "dialogue" in three main ways: (1) as verbal encounter: the conversations, discussions, and debates between characters within the text; (2) as intra-textuality: the relationship between different dialogues in different sections of the text; and (3) as hermeneutics: my interpretive approach to the text. In most of the remainder of this Introduction, I will prepare the way for the subsequent chapters by discussing each of these three understandings of dialogue and how they are related to the book as a whole. (p. 4)Black observes that most scholars, both from the East and the West, have tried to understand the text of the Mahābhārata and its embedded stories from different perspectives, taking them merely as dialogues or a product of dialogical relations, and hardly anyone has explored the most fundamental aspect of dialogue in the Mahābhārata, i.e., "the verbal exchanges between characters" that he takes as the book's starting point (p. 1). Black's literary perspective has made the book an interesting and illuminating read, despite the fact that most of the characters of the Mahābhārata have either a divine origin... (shrink)

The character of Lord Kṛṣṇa has long confounded students of the Sanskrit epic, the Mahābhārata. In addition to the problem of his divinity, many have questioned the nature of Kṛṣṇa’s ethical standpoint, some presenting him as a being who transcends questions of right and wrong, others depicting him as unconcerned with the ethical limitations of human beings. This paper explores these issues through a close examination of Kṛṣṇa’s first significant dialogue with Yudhiṣṭḥira in the epic, in which he seeks to (...) convince Yudhiṣṭhira to slay the autocrat of Magadha, Jarāsaṃdha. It is argued that, through this dialogue, Kṛṣṇa reveals himself to be neither ethically transcendent nor amoral; rather, he is deeply committed to a traditional system of ethics according to which defense of one’s kin group is the highest value and justifies all action. (shrink)

This study accounts for disparate portrayals of divine destroyer Śiva in the normative Rāmāyaṇa and Mahābhārata as opposed to Kālidāsa’s amatory Kumārasaṃbhava and Raghuvaṃśa by contrasting the primary and secondary Sanskrit epic authors’ respective reliances on the Mānavadharmaśāstra and the Kāmasūtra. By arguing, per Richard Johnson’s postpoststructuralism, that these mythological and philosophical differences deliberately reflect those poets’ specific sociohistorical contexts, this inquiry accounts more accurately for Śiva’s classical-epic depictions than do Stella Kramrisch’s and Wendy Doniger [O’Flaherty]’s investigations informed by Claude (...) Lévi-Strauss’s structuralism and Don Handelman and David Shulman’s researches influenced by Gilles Deleuze and Félix Guattari’s poststructuralism. The present work, in revising such prevailing Indological notions as Romila Thapar’s traditional construal of the “classical,” Donald R. Davis Jr.’s anthropocentric definition of puruṣārtha (human aim), and Sheldon Pollock’s unvarying characterization of śāstras (treatises), models a historically aware approach that appreciates the interrelationship of mythological philosophy and philosophical mythology. (shrink)

Adopting the framework of Anglo Analytic Virtue Epistemology, I ask of the Sanskrit epic, the Mahrata, the question: What sort of character or must a have? Then, inspired by broadly feminist sensibilities, I raise the concern whether dispositions for knowing the world can be associated with motivations to rectify injustices in that world just knower.virtues of truth’ in the epic to see whether they can establish a connection between knowing and justice.

A recent publication (I by Simon Brodbeck, 2022) proposes to resolve a long-standing theological conundrum of Hindu mythology on the basis of a literary-holist or “synchronic” reading of the Sanskrit Mahābhārata, seeking thereby to displace earlier scholarship treating this theme. This review essay provides a thorough analysis of the arguments of Divine Descent and the closely linked matter of the two competing methodologies in the reading of the Sanskrit epics: the “synchronic” or holist approach championed by Brodbeck and the “analytic” (...) approach, which views the Mahābhārata as a historically layered text. Ultimately, I argue here that the latter “analytic” solutions to the conundrum, which it was Brodbeck’s purpose to challenge, account for the matter far more persuasively. In particular, I make special reference to a 1960 study by Paul Hacker as a work of persisting value for understanding the historic development of the avatāra system over time. (shrink)

Reading a passage in the Sanskrit Mahābhārata—the attempted disrobing of Princess Draupadī after her senior husband has gambled her away (after losing all his wealth, his brothers and himself)—I suggest that we see in her attitude and angry words an expression of contempt. I explore how contempt is a concept that is not thematized within Sanskrit aesthetics of emotions, but nonetheless is clearly articulated in the literature. Focusing on the significance of her gendered expression of anger and contempt, and the (...) positive acceptance of it in the text, I suggest that contempt can be understood as a transformative attitude in a woman (even a high-born one) towards iniquities in a patriarchal culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dharma of Justice in the Sanskrit Epics: Debates on Gender, Varna, and Species by Ruth VanitaBrian Black (bio)The Dharma of Justice in the Sanskrit Epics: Debates on Gender, Varna, and Species. By Ruth Vanita. Oxford: Oxford Unity Press, 2021. Pp. 298. Hardcover £70.00, isbn 978-0-19-285982-2. Ruth Vanita's The Dharma of Justice in the Sanskrit Epics: Debates on Gender, Varna, and Species examines how the Mahābhārata and Rāmāyaṇa (...) discuss questions of justice. She reads the epics as bhakti texts to focus on their depictions of discrimination based on social categories such as gender, varṇa, species, age, and disability. The book claims that the epics criticize oppression in two main ways: by articulating philosophical ideas about social justice and by celebrating characters of a low social status. Six of the twelve chapters are devoted to themes related to gender, including marriage, independence, consent, gender-crossing, parenting, and masculinity. Focusing on the words and actions of characters in the narrative, Vanita does not directly address the question of whether we can take the marginal voices in the text as representing authentic voices of its social context. She also sidesteps the issue of patriarchy: "Every written text ever composed is, in the widest sense, patriarchal, since it was composed in a male-dominated society. Patriarchy is the air we breathe. Therefore, explaining the meaning of a text as patriarchal is as useful as explaining people's actions by the fact that they breathe" (p. 22). I was left wondering, however, if this explanation serves the interests of her study. In a book about oppressed characters, it seems crucial to say more about how systems of oppression operate. Even if we assume that all societies are patriarchal, this does not mean that they are all patriarchal in the same ways or to the same degree. Vanita is an imaginative reader, whose often speculative interpretations offer some valuable perspectives and raise interesting questions. One of the most refreshing features of the book is its extensive discussions of a number of characters and sub-stories rarely analyzed in scholarly literature. In particular, I enjoyed reading Vanita's take on the Mahābhārata's story of Diśā and Aṣṭāvakra (Mbh 13.19–22), where she shows her sensitivity to the ambiguities of this intriguing episode. This story, which appears in the Anuśāsana Parvan, begins when the ascetic Aṣṭāvakra wants to marry the sage Vadānya's daughter, Suprabhā. Before offering his consent, Vadānya sends Aṣṭāvakra to visit the aged female sage Diśā. As Vanita observes, this episode "maps a landscape of desire" [End Page 1] (p. 77) and raises a number of interesting questions about female sexuality as well as female independence. Vanita sees Diśā's motives, rather than merely testing Aṣṭāvakra's desires, as combining her role as a teacher with her own sexual yearnings. Vanita concludes that Diśā's message is that "desire cannot be entirely overcome" (p. 82). From this, she sees Diśā as advocating the conversion of "feverish agitation into happiness within marriage" (p. 83). Vanita's analysis of this story is both engaging and compelling, yet her claim that this episode is an integral part of Yudhiṣṭhira's education as a king remains undeveloped. I wanted to hear more about how this one story fits into the context of the countless others that Bhīṣma recounts to Yudhiṣṭhira. Moreover, her conclusion at the end of the chapter (ch. 4), that the epics "celebrate single women" (p. 85), seems a bit of a stretch considering the few examples she discusses. In chapter 6, Vanita revisits the encounter between Sulabhā and King Janaka (Mbh 12.308), which she discussed in detail twenty years ago.1 Her return to this episode examines the sexual power dynamics between the female sage and the legendary king from Upaniṣadic lore. As Vanita observes, Sulabhā takes the form of a beautiful young woman to test Janaka's claim to be liberated. Vanita explains:We may expect ordinary people to notice a person's looks first of all, but one who claims to be... (shrink)

The Bhagavadgita is one of the most renowned texts of Hinduism because it contains discussions of important issues such as liberation and the nature of action as well as the revelation of the Krishna as the highest god and creator of the universe. It is included in the ancient Indian Mahabharata epic at one of its most dramatic moments, that is, when the final battle is about to begin. In contrast to many other studies, this book deals with the relationship (...) between the Bhagavadgita and its epic contexts. On the basis of a thorough analysis of the text Angelika Malinar argues that its theology delineates not only new philosophical concepts and religious practices but also addresses the problem of righteous kingship and appropriate use of power. Malinar concludes by considering the Bhagavadgita's historical and cultural contexts and those features of the text that became paradigmatic in later Hindu religious traditions. (shrink)

The Bhagavadgītā is often interpreted in the light of the larger context of the Mahābhārata epic or in comparison to later religious or philosophical texts. Much less attention has been given to the relationship between the Bhagavadgītā and the older Upaniṣads. This article analyzes the relationship of the Bhagavadgītā to the Upaniṣads formally affiliated with the Kṛṣṇa Yajurveda (the Kaṭha, Śvetāśvatara, and Maitrī Upaniṣads) and demonstrates that these four texts are linked together in a complex textual network of mutual references (...) as well as shared themes. This article argues that scholars must understand both the emerging theism of the Bhagavadgītā and its “proto-Sāṃkhya” philosophy in the context of the Kṛṣṇa Yajurveda school and its greater theological and philosophical concerns. (shrink)

This paper calls attention to matsyanyaya, or state of nature theories, in classical Indian thought, and their significance. The focus is on those discussions of matsyanyaya found in the law books, political treatises and the Mahabharata epic. The significance and relevance of matsyanyaya theories are shown through a comparison with early modern state of nature theories and an elaboration on the possible place of rights and dharma in matsyanyaya and the consequences of this for classical Indian political theory.

On indic philosophy; includes articles on Mahabharata epic.

This article examines closely an important passage at the conclusion of the Mahābhārata wherein the final state of the epic heroes after death is defined. The Critical Edition’s phrasing of what precisely became of the characters once they arrived in heaven is unclear, and manuscript variants offer two apparently contradictory readings. In this article I present evidence in support of one of these readings, and respond to the Mahābhārata ’s seventeenth century commentator Nīlakaṇṭha Caturdhara, who champions the other. Underlying and (...) prompting this debate is a much broader issue of the epic narrative: the complex nature of the Mahābhārata heroes as both agents in a universe governed by karma , and their identities as “portions” of divine figures acting within a broader dramatic structure of eschatological myth. (shrink)

The Bhagavad Gītā has inspired more interpretive controversy than any other religious scripture in India’s history. The Gītā, a philosophical and spiritual poem of approximately seven hundred verses, is part of the ancient Sanskrit epic, the Mahābhārata. In the Gītā, the Lord Kṛṣṇa, who appears in the form of a charioteer, imparts spiritual teachings to the warrior Arjuna and convinces him to fight in a just war that entails the slaughter of many of Arjuna’s own relatives and loved ones. Śaṅkara, (...) the great eighth-century champion of the Advaita school of philosophy, wrote the first extant commentary on the Gītā. In this commentary, Śaṅkara interpreted the Gītā strictly in accordance with Advaita.. (shrink)

Here the collected papers explore the whole question of the relation between the mythopoetic and the moral in the context of the Mahabharata. Here we have a story of extreme complexity, characters that are unforgettable, and a cosmic context in which gods and men alike grapple with destiny. The obligations of kinship and friendship jostle with each other. The women characters, as in everyday life, seem to bear a very heavy load of the burden of life and to stand in (...) a key position in almost every conflict. We are presented with predicaments at every turn. At times these predicaments seem to be aggravated by social structure. At other times they are cushioned by it. Philosophical tangles tied up with karma and dharma are interwoven with the mythopoetic material. Perhaps philosophical issues are pinpointed rather more than they are in Greek epic literature. The essays in this book treat the Mahabharata from an unusual angle, fastening on the moral dilemmas it presents. How universal are the dilemmas faced by the characters in the story, and are the dilemmas in fact resolved? In dealing with these questions, the discussions range over the meaning of the purusarthas, the institutions of marriage and the family, the concept of action in the Gita and the special predicaments faced by Draupadi, Arjuna and others. These studies invite the scholar to reflect afresh on the text and encourage the general reader to find in epic literature much that is relevant to life today. (shrink)

The Puranas are texts sacred to Hinduism. We must have heard of the two great epics the Ramayana and the Mahabharata. The Mahabharata states that there are eighteen Puranas and also names three of them the Markandeya Purana the Vayu Purana and the Matsya Purana. Although the Ramayana does not mention any puranas by name the word Puranas is mentioned several times. This means that the composers of the Ramayana and the Mahabharata were familiar with the Puranas.

The Bhagavata Purana is one of the most important, central and popular scriptures of Hinduism. A medieval Sanskrit text, its influence as a religious book has been comparable only to that of the great Hindu epics, the Ramayana and the Mahabharata. Ithamar Theodor here offers the first analysis for twenty years of the Bhagavata Purana often called the (Fifth Veda) and its different layers of meaning. He addresses its lyrical meditations on the activities of Krishna (avatar of Lord Vishnu), the (...) central place it affords to the doctrine of bhakti religious devotion and its treatment of older Vedic traditions of knowledge. At the same time he places this subtle, poetical book within the context of the wider Hindu scriptures and the other Puranas, including the similar but less grand and significant Vishnu Purana. The author argues that the Bhagavata Purana is a unique work which represents the meeting place of two great orthodox Hindu traditions, the Vedic Upanishadic and the Aesthetic. As such, it is one of India's greatest theological treatises. This book illuminates its character and continuing significance. (shrink)

The present article examines two narratives from the epic Mahābhārata (MBh), focused on the topic of desire (kāma) and the relationship erotic – ascetic (kāma – tapas). The first one is about the horned ascetic Ṛṣyaśṛṅga (MBh, 3); the second – about the teaching of God Kṛṣṇa Vāsudeva to the king Yudhiṣṭhira, culminating in the “Song of Kāma” (MBh, 14). Both narratives are interpreted in the perspective of Hindu ethics, whose foundation is dharma, a key concept of Hinduism. The epics (...) propagate an ideal dharmic code of conduct, based on the so-called four life goals – puruṣārtha. One of these four life goals is kāma – the realm of desires, emotions and sensual pleasures. The present analysis aimed at introducing how, by activating the didactic- pedagogical and receptive potential of storytelling, are communicated fundamental behavioural norms and principles regarding the “correct” realization of the individual in the sphere of desires, which means not to kill/annihilate the desires, but to learn to grasp and manage them. (shrink)

The Bhagavadgītā, part of the sixth book of the Hindu epic The Mahābhārata, offers a practical approach to mokṣa, or liberation, and freedom from saṃsāra, or the cycle of death and rebirth. According to the approach, known as karmayoga, salvation results from attention to duty and the recognition of past acts that inform the present and will direct the future. In the Bhagavadgītā, Kṛṣṇa advocates selfless action as the ideal path to realizing the truth about oneself as well as the (...) ultimate reality. Kṛṣṇa proclaims that humans have rights only to actions and not to their results, whether good or bad. Therefore, humans should not desire any results whatsoever. The prisoner’s dilemma is a fictional story that shows why individuals who seek only their personal benefit meet worse outcomes than those possible by cooperating with others. The dilemma provides an effective, albeit often overlooked, method for studying the Hindu principle of niṣkāmakarma that is arguably the central teaching of the Bhagavadgītā. In the context of the prisoner’s dilemma, a prisoner who wants to uphold niṣkāmakarma may choose one of two decision-making strategies: to be indifferent and leave the decision to chance or to either pursue the common good or the other person’s benefit instead of his or her own. Assuming that followers of niṣkāmakarma can be goal-oriented, the second strategy is more appropriate than the first, as long as one pursues unselfish goals and remains both indifferent and uncommitted to personal benefit. (shrink)

Maitreyī has been renown since antiquity for her contributions to philosophy. In this chapter, her views as a proponent of Advaita (Monism) are explained. She was an explicator of a monistic approach to value that argues that the true Self, Ātman, is the basis of the highest values we hold and that knowledge of one’s true identity as Ātman, can be followed by acquiring a first person appreciation of one’s identity as Ātman. That deep axiological understanding, not merely intellectual comprehension, (...) is liberation. Maitreyī (or someone by that name) is reported by the ancient epic Mahābhārata to have remained unmarried, but in one of the earliest of Upaniṣads, the Bṛhadāraṇyaka, Maitreyī is described as a philosopher (brahmavādhinī) married to the sage Yājñavalkya. Regardless of her marital status, a dialogue with Yājñavalkya is preserved in the Bṛhadāraṇyaka Upaniṣad in which she explicates the function of Ātman, its unity with Brahman (Growth, Expansion, Development), and discusses the nature of love and its role in the self who is seeking liberation. That dialogue is explored and discussed in this chapter. (shrink)

Moral conflicts are the situations which emerge as a response to deal with conflicting obligations or duties. An interesting case arises when an agent thinks that two obligations A and B are equally important, but yet fails to choose one obligation over the other. Despite the fact that the systematic study and the resolution of moral conflicts finds prominence in our linguistic discourse, standard deontic logic when used to represent moral conflicts, implies the impossibility of moral conflicts. This presents a (...) conundrum for appropriate logic to address these moral conflicts. We frequently believe that there is a close connection between tolerating inconsistencies and conflicting moral obligations. In paraconsistent logics, we tolerate inconsistencies by treating them to be both true and false. In this paper, we analyze Graham Priest’s paraconsistent logic LP, and extend our examination to the deontic extension of LP known as DLP. We illustrate our work, with a classic example from the famous Indian epic Mahabharata, where the protagonist Arjuna faces a moral conflict in the battlefield of Kurukshetra. The paper aims to avoid deontic explosion and allows to accommodate Arjuna’s moral conflict in paraconsistent deontic logics. Our analysis is expected to provide novel tools towards the logical representation of moral conflicts and to shed some light on the context-sensitive paraconsistent deontic logic. (shrink)

This is the first volume of a projected three-volume work on the little known South Indian folk cult of the goddess Draupadi and on the classical epic, the Mahabharata, that the cult brings to life in mythic, ritual and dramatic forms.

To note that the study of Sanskrit narrative literature, in particular the Epics and Purāṇas, has been plagued with the propensity towards diachronic dissection would be little more than a truism in most scholarly circles. Yet it is with this truism we are forced to begin as we strive to shed the old skin of colonial era receptions of these texts. While there have been notable efforts made to embrace Sanskrit narrative as synchronic wholes, there isn’t much in the way (...) of a systematic methodology for doing so. This paper, therefore, is aimed at charting a methodology for synchronic study of Sanskrit narrative literature, paying particular attention to narrative frames. It advances five avenues of thematic import based on the structure of Sanskrit narrative: inception import, association import, exposition import, framing import, and impetus import. Examples are primarily drawn primarily from the Mahābhārata and the Mārkaṇḍeya Purāṇa. Note that key terms arising from the discussion in this chapter are bolded throughout and appear in a “terminology guide” appended to the end of this study for the sake of reader reference. (shrink)

The East has seen totality in a far more consistent and systematic way than the West; and India more so than any other civilisation in the East. When the Swami Siddheswarananda came to France to lecture on Vedic philosophy, he entitled his address, Outline of a Philosophy of Totality’. The expression could have been applied to the philosophies of India as a whole. But the world of thought, coextensive with culture, is far broader than philosophy. It is no exaggeration to (...) assert that India is the land of totality par excellence. Is it not even, according to one dictum, bigger than the world …? The notion of totality, implicit or conscious, poetic or theoretical, original or final, is present throughout Indian culture, both in its religion and in its arts, both in its customs as in its language. The Mahabharata, the largest epic poem ever conceived, proclaims: everything in the Mahabharata can be found elsewhere, but what is not in the Mahabharata cannot be found anywhere. Whilst the absolute beginning of a piece of Western music is in keeping with a dramatic time analogous to that of the Creation, Indian music seems to come from the eternity of a universe without transcendence. The body takes on a cosmic meaning through dance. By performing the tandava, the cosmic dance, Shiva Nataraja (‘Lord of the dance’) endlessly creates and destroys worlds. Indian art is an art of proliferation: both the reiteration of motifs sculpted in architecture and the litanies and metaphors spun out in epic poetry are symbolic attempts to capture the totality of the world. Every single element, being, movement or thing within this continuous space and time points towards all the others. The texts describe the sky of Indra with its web of pearls arranged in such a way that when one looks into one, one sees all the others reflecting in it; in the same way, each object of this world is not merely itself but comprises every one of the others and actually is all the others. The culture of India is one of plenitude, presence and continuity. At the opposite extreme, Japan developed a culture based upon the values of emptiness, absence and the interval. When a guru speaks, Valmiki and Vyasa know that it will take them many scores of verses. A Zen master's reply to his disciple takes up a single-line anecdote, or a word, or even a silence. At the other extreme, hundreds of statues line the gopuram of the temple at Madurai: not all of the thirty-three million gods ‘recognized’ in the writings are there, of course, but at least their unbelievable abundance gives us a plausible image of them. (shrink)

The Vedas, the Hindu scripture, make it clear that God is one, not only everywhere but also everything, has no name or form and prescribes a monistic and pantheistic perspective. Still devotees of different preferences and inclinations have the option to choose different names and forms for worshipping God. Thus, Hindus worship a very large number of gods and goddesses as aspects or powers of God promoting a distinctive monotheism. The most prominent goddesses are Durga and Kali both of whom (...) are demon-slayers with unlimited power, Parvati a great wife and mother who is highly learned, Lakshmi, the goddess of wealth and Sarasvati, the goddess of learning. The most prominent gods are Brahma, the creator who supervises the beginning of each creative cycle, Vishnu, the god of preservation and Siva, the god of destruction. Vishnu has the largest following followed by Siva, a close second and Brahma, a distant third in following. Vishnu has many incarnations who come to the world to restore righteousness and order when there is great trouble. The two most popular reincarnations are Rama and Krishna, the lead characters respectively of the great epics Ramayana and Mahabharata. (shrink)

Philosophical poetry has had a long and distinguished history in different cultural traditions. These traditions have always interacted to some extent, but today the barriers between them have largely broken down. Savitri, an epic in English by the early twentieth-century Indian philosopher and poet Sri Aurobindo, is a notable outcome of the confluence of Eastern and Western civilisations. Based on a creative reworking of a legend from the Sanskrit epic, the Mahābhārata, it incorporates in its neo-Vedantic vision aspects of the (...) worldviews represented by the great philosophical poems of ancient, medieval and modern Europe. As vast in scope as any of these works, Savitri took shape over much of the poet’s life in a way comparable to Goethe’s Faust. A study of the stages of its composition reveals much about the author’s artistic, intellectual and spiritual development and gives insight into the poem’s autobiographical dimension. (shrink)

Illustrations: 24 B/w Illustrations Description: In the Hindu tradition Kapila is admired and worshipped as a philosopher, a divinity, an avatara of Visnu and as a powerful ascetic. This book is the first monographic study of this important figure. The book deals with Kapila in the Veda, the Sramana traditions, the Epics and the Puranas, in the Samkhya system of religious thought and in the ritual traditions of many contemporary Hindu traditions. Kapila is an important figure in the sacred geography (...) of India and the study of the rituals and narrative traditions of the tirthas of Kapila is an important contribution of this book. The book also contains a translation into English of the text Kapilasuri-samvada, Kapila's teaching of Asuri, found in a few manuscripts of the Southern recension of the Mahabharata. Kapila refers to a pluralistic phenomenon. The Kapilas in the Hindu tradition connot be reduced to a single figure. In general, pluralism characterises the religious traditions and religious life in South Asia, ancient, medieval, modern as well as contemporary. Openness for the greatest possible plurality is therefore often a good way to approach religion in South Asia. This is the case also with the study of Kapila. The approach of the book therefore is pluralistic. Contents Preface Chap. I : Kapila in the Hindu Tradition Chap. II : Kapila in the Veda, the Sramana-tradition, and the Mahabharata Chap. III : Kapila in Samkhya and Samkhya-Yoga Chap. IV : Kapila in the Puranas : The Visnu Avatara Chap. V : Kapilasurisamvada : Sanskrit Text and Translation Chap. VI : The Sacred Geography of Kapila Chap. VII : Worship of Kapila : Sanskrit Hymns Chap. VIII : Competing Interpretations of Kapila in the Hindu Tradition. (shrink)

Helen's "viewing" of the Greek heroes from the walls of Troy in "Iliad" 3 and its relation to the duel between Menelaos and Paris later in the same book are much-discussed episodes in Homeric criticism. Comparison with a cognate epic tradition, that of ancient India, produces insight on these problematic scenes. The illegal abduction and correct reabduction of Draupadī, the wife of the heroes of the Mahābhārata, show striking parallels to the sequence of the events in "Iliad" 3, and the (...) narrative pattern in both epics appears to reflect inherited Indo-European legal institutions that bear upon the legality and correct procedure of marriage by abduction. (shrink)

In India it is a commonplace that the great epic, the Mahābhārata, is a dharma or legal text. It can also be demonstrated not only that there are explicit references to ritual in the epic narrative, but that the narrative sometimes covertly encodes ritual, allowing the audience to experience the narrative on several levels at once. I will suggest that it is possible to read the Odyssey both as a legal and a ritual text and that explicit reference to the (...) rich legal, ritual, and epic materials of ancient India clarifies much that is murky in the Odyssey, given the Indo-European heritage that they both share. The paper focuses on three issues: A legal point: the legal status of Penelope, particularly with regard to her remarriage. Should she remarry, and if so, who has the authority to arrange such a marriage? Both legal and epic materials in Sanskrit treat in detail the situation of a woman whose husband has gone abroad and disappeared. A legal institution: the marital self-choice and its relevance to Penelope and the suitors. The self-choice is a common type of marriage for kings' daughters in Sanskrit, in which the princess "chooses" a husband from a group of assembled suitors. Often the "choice" is governed by an act of strength and skill, just as Penelope's marriage contest was. A ritual: the consecration of the king and its relevance to Odysseus' return. Odysseus' return to Ithaka can be read as a covert encoding of a royal consecration ritual similar to the Sanskrit Rājasūya. In particular, the theme of the bow, the importance accorded to Eumaios' pigs, and the narrative of the boar hunt all find their counterparts in the Sanskrit ritual. (shrink)

The Bhagavad Gītā occurs at the start of the sixth book of the Mahābhārata—one of South Asia’s two main epics, formulated at the start of the Common Era (C.E.). It is a dialog on moral philosophy. The lead characters are the warrior Arjuna and his royal cousin, Kṛṣṇa, who offered to be his charioteer and who is also an avatar of the god Viṣṇu. The dialog amounts to a lecture by Kṛṣṇa delivered on their chariot, in response to the fratricidal (...) war that Arjuna is facing. The symbolism employed in the dialog—a lecture delivered on a chariot—ties the Gītā to developments in moral theory in the Upaniṣads. The work begins with Arjuna articulating three objections to fighting an impending battle by way of two teleological theories of ethics, namely Virtue Ethics and Consequentialism, but also Deontology. In response, Kṛṣṇa motivates Arjuna to engage in battle by arguments from procedural ethical theories—specifically his own form of Deontology, which he calls karma yoga, and a radically procedural theory unique to the Indian tradition, Yoga, which he calls bhakti yoga. This is supported by a theoretical and metaethical framework called jñāna yoga. While originally part of a work of literature, the Bhagavad Gītā was influential among medieval Vedānta philosophers. Since the formation of a Hindu identity under British colonialism, the Bhagavad Gītā has increasingly been seen as a separate, stand-alone religious book, which some Hindus treat as their analog to the Christian Bible for ritual, oath-swearing, and religious purposes. The focus of this article is historical and pre-colonial. (shrink)

Bhagwad Gita, also known as the Gita, is an important ancient Indian text, written around the 3rd Century BCE. The Gita appears in the 18th Chapter of the epic, Mahabharata, written by Sage Vyasa. It is set on a war front. The Bhagwad Gita is presented as a dialogue between Arjuna, one of the warriors, and Krishna, his charioteer who was also a king. Arjuna is shown to be confused and conflicted about fighting in the war against his unjust cousins (...) and teachers. Krishna, on the other hand, attempts, through various means, to counsel him about his duty by explaining the workings of mankind and the world. He points out the flawsin Arjuna’s reasoning and helps him clear his clouded judgement. In doing so, Krishna gave away secrets to living a meaningful life. Although the Gita is addressed towards Arjuna, his message applies to each one of us as humans who are at times conflicted, unsure and resentful. It contains eternal wisdom on the best ways to live our lives while also taking into consideration differences in personality and preference. Logic-based therapy is a modality of philosophical counselling developed by Dr. Cohen that suggests that human beings have certain faulty ways or illogical ways of thinking and interpreting life circumstances that manifest in the form of irritation and other day-to-day issues like procrastination, anger, management issues, low self-esteem etc. To solve such issues, which he calls Cardinal Fallacies, it is necessary to think rationally and transgress those illogical thought patterns. Hence, in Logic Based Therapy timeless philosophical ideologies are offered as antidotes by which people can adopt new ways of thinking and solve such everyday problems. This paper attempts to show how different cardinal fallacies can be tackled by using the eternal wisdom presented in the Bhagwad Gita, in the form of uplifting philosophies. (shrink)