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Parva
Parva considered to be the Magnum Opus of Bhyrappa, is the interpretation of the Mahabharata from the point of view of 20th century mind. The Mahabharata story is removed from its mythological elements and the whole theme and characters are placed in the historical time of 12th century B.C in India. Bhyrappa spent five years in researching the social, economic and cultural details of the period.
950 pages, Hardcover
First published January 1, 1979
686 people are currently reading
9,704 people want to read
About the author
S.L. Bhyrappa
58books1,025followersDr S.L. Bhyrappa is a litterateur par excellence. He writes in the south Indian language, Kannada, and has been the bestselling novelist for over 25 years now. His novels are widely translated to pan Indian languages. He is the bestselling novelist in Marathi over the past decade and is among the top-five bestselling authors in Hindi. He is a conscious artist that depicts fundamental human emotions in his novels. In addition to his profound knowledge of Indian philosophical and cultural traditions, Professor Bhyrappa has since his childhood had intense personal experiences in both rural and urban milieu. Consequently, his characters are deeply rooted in Indian soil. Seminars have been and are being held on his novels, and volumes of literary criticism have been published on his works.
His books have found their way to the curriculum of undergraduate and postgraduate degree courses of the universities in the state of Karnataka, and have been the subject of about 20 PhD dissertations. He has penned 24 novels and four volumes of literary criticism and books on aesthetics, social issues and culture. Most of his novels are translated into almost all the Indian languages and six into English. He has served as a Prof. of Philosophy over three decades at NCERT.
Dr Bhyrappa is an avid listener of both Indian and Western classical music and has a keen eye for Art. Travelling has been his paasion since childhood and he has travelled across the globe touching the glaciers of poles, forests of Amazon, deserts of Africa, bustling cities of Europe and the United States. He has trekked in the Alps, the Rockies, Andes and in Fujiama, but the Himalayas remain his greatest passion.
Academic Publications in English
--------------------------------------
Values in Modern Indian Educational Thought, 1968 (New Delhi: National Council of Educational Research and Training)
Truth & Beauty: A Study in Correlations, 1964 (Baroda: M. S. University Press)
20 Research Papers published in various Journals like Indian Philosophical Quarterly, Darshana International, Journal of University of Baroda
Research and Fellowship
----------------------------
National Research Professor, Government of India, 2014
One of the five members of the Indian Literary Delegation that visited China on invitation by the Government of China, 1992
Ford Foundation Award to visit the USA to study the cultural problems of Indian immigrants to the USA, 1983
British Council Fellowship tenured at the School of Education, University of London, 1977
His books have found their way to the curriculum of undergraduate and postgraduate degree courses of the universities in the state of Karnataka, and have been the subject of about 20 PhD dissertations. He has penned 24 novels and four volumes of literary criticism and books on aesthetics, social issues and culture. Most of his novels are translated into almost all the Indian languages and six into English. He has served as a Prof. of Philosophy over three decades at NCERT.
Dr Bhyrappa is an avid listener of both Indian and Western classical music and has a keen eye for Art. Travelling has been his paasion since childhood and he has travelled across the globe touching the glaciers of poles, forests of Amazon, deserts of Africa, bustling cities of Europe and the United States. He has trekked in the Alps, the Rockies, Andes and in Fujiama, but the Himalayas remain his greatest passion.
Academic Publications in English
--------------------------------------
Values in Modern Indian Educational Thought, 1968 (New Delhi: National Council of Educational Research and Training)
Truth & Beauty: A Study in Correlations, 1964 (Baroda: M. S. University Press)
20 Research Papers published in various Journals like Indian Philosophical Quarterly, Darshana International, Journal of University of Baroda
Research and Fellowship
----------------------------
National Research Professor, Government of India, 2014
One of the five members of the Indian Literary Delegation that visited China on invitation by the Government of China, 1992
Ford Foundation Award to visit the USA to study the cultural problems of Indian immigrants to the USA, 1983
British Council Fellowship tenured at the School of Education, University of London, 1977
Ratings & Reviews
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Displaying 1 - 30 of 228 reviews
May 3, 2024
I was supposed to read this book with my friend, I recommended this book to her. She even bought it. But unfortunately due to some circumstances, we couldn't read it together. I am sure she will finished it sooner.
Anyway for me this was the best Mahabharata book I have ever read. Parva is a retelling of the Mahabharata with rare insights. Parva delves deep into the physical, psychological, and philosophical dimensions of the Mahabharata. I love the way story went back and forth. And I also admired how author used multi linear narrative. Those who are my friends know how crazy I am when it comes to Bhyrappa's books. No doubt why this book was my 11th book of his. Bhyrappa spent five years in researching this book and he went to various places to get the feel. He is expert when it comes to human relations and thought process. This book makes you feel realistic and doesn't indulge in hero worshiping of any character. No myths. No miracles. Quite a rationalist book this was. The way Mahabharata characters are shown as normal human beings without any miracle or divine intervention is just amazing.
Bhyrappa manages to achieve an intimacy with the characters caught in the conflicts of power, lust, love and war, but also maintains a critical distance as the narrator. It is startling in its intellectual and emotional clarity. It is about human struggles in obliging ourselves even as we are conflicted by our duties to the world we inhabit - to family and friends, to rulers and the rules.
Originally, this book was written in ಕನ್ನ� (kannada) but I read in English. This book is also available in Sanskrit , Bangla, Telugu, Tamil, Marathi, Malayalam, Chinese and Russian. I am sure this book is also available in many languages as well. Books like this should be gifted to friends, family and relatives.
One more thing, this is Bhyrappa's version of Mahabharata. Bhyrappa has taken Ved Vyasa's original work and humanised it. His Parva is individual centric. If you want to read authentic version of Mahabharata, read The Essential Mahabharata (Vachana Bharat) by A.R. Krishnashastri. It's an abridged version. Original Mahabharat is like 18 volumes There is also 8 hours play on this novel in Kannada and English directed by legendary Prakash Belawadi. To enjoy fine piece of literature, do read Parva. Vivek Agnihotri will make 3 parts movie on this book.
Anyway for me this was the best Mahabharata book I have ever read. Parva is a retelling of the Mahabharata with rare insights. Parva delves deep into the physical, psychological, and philosophical dimensions of the Mahabharata. I love the way story went back and forth. And I also admired how author used multi linear narrative. Those who are my friends know how crazy I am when it comes to Bhyrappa's books. No doubt why this book was my 11th book of his. Bhyrappa spent five years in researching this book and he went to various places to get the feel. He is expert when it comes to human relations and thought process. This book makes you feel realistic and doesn't indulge in hero worshiping of any character. No myths. No miracles. Quite a rationalist book this was. The way Mahabharata characters are shown as normal human beings without any miracle or divine intervention is just amazing.
Bhyrappa manages to achieve an intimacy with the characters caught in the conflicts of power, lust, love and war, but also maintains a critical distance as the narrator. It is startling in its intellectual and emotional clarity. It is about human struggles in obliging ourselves even as we are conflicted by our duties to the world we inhabit - to family and friends, to rulers and the rules.
Originally, this book was written in ಕನ್ನ� (kannada) but I read in English. This book is also available in Sanskrit , Bangla, Telugu, Tamil, Marathi, Malayalam, Chinese and Russian. I am sure this book is also available in many languages as well. Books like this should be gifted to friends, family and relatives.
One more thing, this is Bhyrappa's version of Mahabharata. Bhyrappa has taken Ved Vyasa's original work and humanised it. His Parva is individual centric. If you want to read authentic version of Mahabharata, read The Essential Mahabharata (Vachana Bharat) by A.R. Krishnashastri. It's an abridged version. Original Mahabharat is like 18 volumes There is also 8 hours play on this novel in Kannada and English directed by legendary Prakash Belawadi. To enjoy fine piece of literature, do read Parva. Vivek Agnihotri will make 3 parts movie on this book.
January 11, 2025
4.5 Stars
One Liner: A lot to discuss!
I’ve written a super long review (and plan to get it published on a third-party site). This is a shorter version, so I’ll keep it in pointers.
� Read Mahabharata (critical/ complete edition) to enjoy Parva better. Don’t start with this book. It won’t be easy.
� There is no magic or fantasy. Most events/ incidents have a logical explanation or probable theory.
� The book doesn’t glorify anyone. Everyone has flaws, and it’s these flaws that come under the magnifying glass but without being twisted beyond recognition.
� A non-linear narration with multiple POVs. Plenty of flashbacks that switch from first-person to second to third to first.
� Much to unpack and discuss about Dharma, human weaknesses, power games, manipulation, body autonomy, control, family, relationships, war, etc. A great choice for book club discussions.
� Slow-paced as expected but possibly slower due to the English translation and formatting.
� Character arcs we cannot help but think about long after the book ends, especially Bhima, Draupadi, Arjuna, and Kunti.
� Sexuality is a strong theme and has many facets. Not everyone will like it but that’s exactly the point.
� A vivid portrayal of the dark/ smelly side of war and its aftermath.
� A doomsday-style ending that’s somehow fitting and aligns with the dark themes in the book.
To summarize, Parva is an exploration of human fallacies using Mahabharata and its characters as the core framework. It is Mahabharata but it is much more too!
One Liner: A lot to discuss!
I’ve written a super long review (and plan to get it published on a third-party site). This is a shorter version, so I’ll keep it in pointers.
� Read Mahabharata (critical/ complete edition) to enjoy Parva better. Don’t start with this book. It won’t be easy.
� There is no magic or fantasy. Most events/ incidents have a logical explanation or probable theory.
� The book doesn’t glorify anyone. Everyone has flaws, and it’s these flaws that come under the magnifying glass but without being twisted beyond recognition.
� A non-linear narration with multiple POVs. Plenty of flashbacks that switch from first-person to second to third to first.
� Much to unpack and discuss about Dharma, human weaknesses, power games, manipulation, body autonomy, control, family, relationships, war, etc. A great choice for book club discussions.
� Slow-paced as expected but possibly slower due to the English translation and formatting.
� Character arcs we cannot help but think about long after the book ends, especially Bhima, Draupadi, Arjuna, and Kunti.
� Sexuality is a strong theme and has many facets. Not everyone will like it but that’s exactly the point.
� A vivid portrayal of the dark/ smelly side of war and its aftermath.
� A doomsday-style ending that’s somehow fitting and aligns with the dark themes in the book.
To summarize, Parva is an exploration of human fallacies using Mahabharata and its characters as the core framework. It is Mahabharata but it is much more too!
June 14, 2020
⭐⭐⭐⭐�
Finally! Took almost 6 months to read this epic version of the epic.
This is the most logical interpretation of Mahabharata I've ever read.
Highly recommended to read it as a secondary.
What I loved:
1. No supernatural or deifying mystical powers
2. Very practical approach to war - how the Pandavas and Kauravas influenced different kings to favour their side in the great war, war preparation, strategy regarding water bodies, details on sanitation and feeding the army.
3. Unadulterated - only for adults. For intense illicit relations, heavy churning of thought process and emotions.
4. How the 5 Pandavas were born via Niyoga practice - This was the best part. Mahabharata will never be the same for me� ever again!
What I didn't like:
1. Book structure. No chapters, titles or heading anywhere. All the narration in one continous flow...
2. Yuyudhan's story seemed like never ending! Stretched a bit too far (500+ pages!). Could have been curtailed.
3. Extravagant use of Lamanca grass references!
Had been planning to read it since around 5 years, but was very intimidated by its sheer voluminous size.
If you like reading multiple POVs or interpretations of Mahabharata, it is a MUST read.
Finally! Took almost 6 months to read this epic version of the epic.
This is the most logical interpretation of Mahabharata I've ever read.
Highly recommended to read it as a secondary.
What I loved:
1. No supernatural or deifying mystical powers
2. Very practical approach to war - how the Pandavas and Kauravas influenced different kings to favour their side in the great war, war preparation, strategy regarding water bodies, details on sanitation and feeding the army.
3. Unadulterated - only for adults. For intense illicit relations, heavy churning of thought process and emotions.
4. How the 5 Pandavas were born via Niyoga practice - This was the best part. Mahabharata will never be the same for me� ever again!
What I didn't like:
1. Book structure. No chapters, titles or heading anywhere. All the narration in one continous flow...
2. Yuyudhan's story seemed like never ending! Stretched a bit too far (500+ pages!). Could have been curtailed.
3. Extravagant use of Lamanca grass references!
Had been planning to read it since around 5 years, but was very intimidated by its sheer voluminous size.
If you like reading multiple POVs or interpretations of Mahabharata, it is a MUST read.
July 20, 2021
I started this book out of curiosity. I was curious to know what logical reasons S.L. Bhyrappa had tried to give in his book de-mythologizing the original tale in a believable way, which is quite a challenge in itself. Well, I must say this interpretation of Mahabharata is very practical and convincing. It gives realistic reasoning to all most all the mythical facts. Basically, this book focuses more on telling how all characters here are just humans with no superpower and how they act and react to a given circumstance in a normal way. Even God Krishna for that matter!
The story starts, when both parties are busy preparing for the war collecting warriors on their side. Arranging other necessities for that. From there the story moves to Kunti’s point of view - how she gave birth to her sons practising niyoga and what difficulties she faced because of that and then to Bhima his love for Draupadi and how he felt sorry for Hidimbi and how selfishly he went to invite his son Gatohkacha for the war. Then it moves to Draupadi’s point of view. This was my favourite part of this book. I was touched by the way she unveils herself. Her suffering. Her apathy towards Dharmaraya. And how she first fell for the handsome Arjuna and as she grows old how gradually she sees the real caring, compassion for her in Bhima, how unknowingly her love turns away from Arjuna towards Bhima. The revelation of her feelings is beautifully explained. Then the viewpoint shifts to Arjuna then to Karna and so on. Finally towards the end of the battlefield. What difficulties did both Kaurava’s and Pandavas go through during the war? How both the team suffer. How within the party they misunderstand each other and solve and move forward. At last when the war is finally over after losing so much and so many loved ones did the war had any meaning? Did winning seem worthwhile? Though this kind of thing might not have happened in the real Mahabharata yet one cannot ignore what has been said here.
Bhyrappa’s way of approach towards this book was amazing. It's difficult to write about each character and their viewpoint, their feelings, frustrations, lost everything in one single book. Without being partial or impractical towards a character or an incident. Covering this epic without leaving a single thing adding black humour here and there. But it has been accomplished by him exceptionally.
It was more than a year since I bought this book and how lucky I was to get a Hardcopy of the English translation of this magnum opus. Since then I have been trying to read it but was unable to. The reason being it was a very huge book to carry where ever I went and it felt more like a show-off to carry as well :P and there was no kindle edition available to buy. But this time I had determined to finish it, allowing myself to take it slow so that I can savour every moment though in the end, I did savour I had to gobble it up. Could not rest till I finished it. This probably says how interesting this book was for me.
Now waiting to read this in Kannada the original language in which it was written.
The story starts, when both parties are busy preparing for the war collecting warriors on their side. Arranging other necessities for that. From there the story moves to Kunti’s point of view - how she gave birth to her sons practising niyoga and what difficulties she faced because of that and then to Bhima his love for Draupadi and how he felt sorry for Hidimbi and how selfishly he went to invite his son Gatohkacha for the war. Then it moves to Draupadi’s point of view. This was my favourite part of this book. I was touched by the way she unveils herself. Her suffering. Her apathy towards Dharmaraya. And how she first fell for the handsome Arjuna and as she grows old how gradually she sees the real caring, compassion for her in Bhima, how unknowingly her love turns away from Arjuna towards Bhima. The revelation of her feelings is beautifully explained. Then the viewpoint shifts to Arjuna then to Karna and so on. Finally towards the end of the battlefield. What difficulties did both Kaurava’s and Pandavas go through during the war? How both the team suffer. How within the party they misunderstand each other and solve and move forward. At last when the war is finally over after losing so much and so many loved ones did the war had any meaning? Did winning seem worthwhile? Though this kind of thing might not have happened in the real Mahabharata yet one cannot ignore what has been said here.
Bhyrappa’s way of approach towards this book was amazing. It's difficult to write about each character and their viewpoint, their feelings, frustrations, lost everything in one single book. Without being partial or impractical towards a character or an incident. Covering this epic without leaving a single thing adding black humour here and there. But it has been accomplished by him exceptionally.
It was more than a year since I bought this book and how lucky I was to get a Hardcopy of the English translation of this magnum opus. Since then I have been trying to read it but was unable to. The reason being it was a very huge book to carry where ever I went and it felt more like a show-off to carry as well :P and there was no kindle edition available to buy. But this time I had determined to finish it, allowing myself to take it slow so that I can savour every moment though in the end, I did savour I had to gobble it up. Could not rest till I finished it. This probably says how interesting this book was for me.
Now waiting to read this in Kannada the original language in which it was written.
May 25, 2012
’Parva� means ’Festival� in Sanskrit. And it also means chapter or lesson...Parva uses monologue as a technique for the non-mythological retelling of the Mahabharata...It is written by acclaimed Kannada author S L Byrappa . I have read this book in two languages One in the language it was originally written Kannada and in english ... Dr. K. Raghavendra Rao’s translation is not only true to the topic, but also gives complete justice to the book.( i was afraid the original essence will be lost )
In Parva very character is human, and every character is a complex character feeling a gamut of emotions be it jealousy, anger, forgiveness ...... The phathos the beauty ..... Pandavas fight amongst themselves as much as each of them introspects into their own lives and their decisions, giving rise to several important questions of basis of the epic. There are no gods here;
even Krishna is a human with great goodness ...Its philosophical depth, reason the geogrpahy and socio-cultural details all make it seem real
’Vamshavriksha� ( ’The Uprooted� in English, translated by Dr. Raghavendra Rao again..), ’Tabballiyu neenade Dharmashree are three other brillant books by him which i hope to reread ....(read them in college)
In Parva very character is human, and every character is a complex character feeling a gamut of emotions be it jealousy, anger, forgiveness ...... The phathos the beauty ..... Pandavas fight amongst themselves as much as each of them introspects into their own lives and their decisions, giving rise to several important questions of basis of the epic. There are no gods here;
even Krishna is a human with great goodness ...Its philosophical depth, reason the geogrpahy and socio-cultural details all make it seem real
’Vamshavriksha� ( ’The Uprooted� in English, translated by Dr. Raghavendra Rao again..), ’Tabballiyu neenade Dharmashree are three other brillant books by him which i hope to reread ....(read them in college)
December 6, 2023
ಮರ� ಓದ� - 3
ವೇದವ್ಯಾಸರನ್ನ� ಕುಮಾರವ್ಯಾಸರನ್ನ� ನಾವು ಕಂಡಿಲ್�. ಆದರೆ ಅವ� ಮಹತ್ವವನ್ನು ಅವ� ಕೃತಿಗಳ� ಶತ ಶತಮಾನಗಳಿಂದ ಸಾರಿ ಸಾರಿ ಹೇಳುತ್ತಿವೆ, ಹಾಗೆಯೇ ಭೈರಪ್ಪ� ಮಹತ್ವವನ್ನು ಸಮಯದ ಅಂತ್ಯದವರೆಗ� ಸಾರು� ದಕ್ಷ ಕೃತಿಯೇ 'ಪರ್ವ'...
ವೇದವ್ಯಾಸರನ್ನ� ಕುಮಾರವ್ಯಾಸರನ್ನ� ನಾವು ಕಂಡಿಲ್�. ಆದರೆ ಅವ� ಮಹತ್ವವನ್ನು ಅವ� ಕೃತಿಗಳ� ಶತ ಶತಮಾನಗಳಿಂದ ಸಾರಿ ಸಾರಿ ಹೇಳುತ್ತಿವೆ, ಹಾಗೆಯೇ ಭೈರಪ್ಪ� ಮಹತ್ವವನ್ನು ಸಮಯದ ಅಂತ್ಯದವರೆಗ� ಸಾರು� ದಕ್ಷ ಕೃತಿಯೇ 'ಪರ್ವ'...
November 21, 2013
For the past year or so I have been trying to cover most of the books from and while I am nearing the end of that reading list, this book stands out as the best demythologized version of the Mahabharata I have read so far. In this book, the all too familiar epic is narrated from the point of view of many of its participants, each stripped of any possible divine connection and treated as flawed human beings. Apart from creating extremely believable characters the author also creates a socio-cultural background to the battle and its preceding events that lends it a "aaah...this would have actually happened" that most agnostics will welcome.
October 5, 2018
If you sheared the characters in Mahabharata of their every divine powers and the mysticism, and focus on their emotions, their aspirations, their greed at a very human level, then the story you will get is Bhyrappa's Parva. It is a very beautifully written story, which takes on the social and anthropological aspects of the period. It shows the questions and conflicts each person is going through inside of themselves, and their reasoning for the choices they made which have brought them to the great war between dharma and adharma.
April 11, 2020
It was an epic indeed
Bhyrappa successfully demystified and demythified all the holy characters for me.
This version is quite believable. I lives through the times , especially in the past 3 days, wherein I managed to finish the bulk of the book ( approx 60 percent ).
I even dreamt of the happenings of the book yesternight ...
Am too impressed and too diminished to write an appropriate review.
Would urge all Mahabharata fans to read this , unless they are extremely religious and want their gods and godly beings to retain their pious aura.
Bhyrappa successfully demystified and demythified all the holy characters for me.
This version is quite believable. I lives through the times , especially in the past 3 days, wherein I managed to finish the bulk of the book ( approx 60 percent ).
I even dreamt of the happenings of the book yesternight ...
Am too impressed and too diminished to write an appropriate review.
Would urge all Mahabharata fans to read this , unless they are extremely religious and want their gods and godly beings to retain their pious aura.
April 25, 2018
ಪರ್ವ:
ವ್ಯಾ� ಮಹರ್ಷಿಗಳ ಮಹಾಭಾರತವನ್ನು ಆಧಾರವಾಗಿಟ್ಟುಕೂಂಡ� ರಚಿತವಾಗಿರು� ಕಾದಂಬರ� ಪರ್ವ.ಇದೂಂದು ಮರುಸೃಷ್ಟ�.
ನನಗೆತಿಳಿಯದೆ ಇರುವ ಎಷ್ಟ� ಅಂಶಗಳನ್ನ� ಮತ್ತ� ಮಹಾಭಾರತದಲ್ಲಿ ಬರುವ ಪಾತ್ರಗಳನ್ನ� ಪರ್ವವನ್ನ� ಓದಿದಮೇಲೆಯೇ ತಿಳಿದುಕೂಂಡ�.
ಇಲ್ಲ� ಬರುವ ಪ್ರತಿಯೋಂದು ಪಾತ್ರದ ಬಗ್ಗ�, ಪಾತ್ರದ ಆಲೋಚನೆಗಳ� ಮತ್ತ� ಹಿನ್ನಲೆಗಳಬಗ್ಗೆ, ಕುರುಕ್ಷೇತ್� ಯುದ್ಧದ ಸಿದ್ಧತ� ಮತ್ತ� ಸನ್ನಿವೇಶಗಳ ಬಗ್ಗ� ತುಂಬ� ಅಧ್ಭುತವಾಗಿ ಚಿತ್ರಿಸಿದ್ದಾರೆ ನಮ್ಮ ಸರಸ್ವತ� ಸಮ್ಮಾನ ಪುರಸ್ಕೃತರು. ಉತ್ತರಕಾಂಡವನ್ನು ಓದಿದಾಗ ಪಟ್ಟ ಸಂತೋ� ಪರ್ವವನ್ನ� ಓದಿದ ಮೇಲೆಯೂ ಅನುಭವಿಸಿದೆ. ಧರ್ಮಜನ� ಜೂಜಿನಲ್ಲ� ಸೋ� ಕಾರಣಕ್ಕಾಗಿ, ಕೌರವರು ಪಾಂಚಾಲಿಯನ್ನು ಅವಮಾನಿಸಿದಲ್ಲದೆ, ಪಾಂಡವರಿಗ� ೧೨ ವರ್ಷ ವನವಾ� ಮತ್ತ� ಓಂದು ವರ್ಷ ಅಜ್ಞತವಾಸವನ್ನ� ಅನುಭವಿಸಲ� ಆಜ್ಞ� ಮಾಡುತ್ತಾರೆ. � ಕಾರಣದಿಂದ ಪಾಂಡವರ� ೧೨ ವರ್ಷ ವನವಾ� ಮತ್ತ� ಓಂದು ವರ್ಷ ಅಜ್ಞತವಾಸವನ್ನ� ಅನುಭವಿಸುತ್ತಾರೆ. ಪಾಂಡವರ ಅಜ್ಞಾತವಾಸದ ಬಗ್ಗ� � ಕಾದಂಬರಿಯಲ್ಲಿ ಅಧ್ಭುತವಾಗಿ ವಿವರಿಸಿದ್ದಾರ�.
ಕರ್ಣ� ಪಾತ್ರವ� ನನ್ನ ಮನಸ್ಸಿಗೆ ತುಂಬ� ಇಷ್ಟವಾಯಿತು. ಭೀಮನಿಂ� ಮಲ್ಲ ಯುದ್ಧದಲ್ಲಿ ಸೋತು ಮತ್ತ� ಸತ್ತ ಭಕಾಸುರ,ಜರಾಸಂಧ,ದುರ್ಯೋಧನ� ಬಗ್ಗ� ಮತ್ತ� ಕೃಷ್�,ಯುಯುಧಾ�,ಭೀ�,ಅರ್ಜುನ,ಭೀಷ್�,ದುರ್ಯೋಧ�,ಪಾಂಚಾಲ� ಇನ್ನ� ಹಲವಾರು ಪಾತ್ರಗ� ಬಗ್ಗ� ಸುಂದರವಾಗ� ರಚಿಸಿದ್ದಾರ�. ಪರ್ವವನ್ನ� ಬರೆಯಲು ಭೈರಪ್ಪನವರು ಎಷ್ಟ� ಸಂಶೋಧನೆಯನ್ನು ಮಾಡಿದ್ದಾರೆ ಎಂಬುವುದಕ್ಕ� ಓದಿದರೇ ಅರ್ಥವಾಗುತ್ತದ�. ಪ್ರತಿಯೋಬ್ಬರೂ ಓದಲೇಬೇಕಾ� ಕಾದಂಬರ�.
ವ್ಯಾ� ಮಹರ್ಷಿಗಳ ಮಹಾಭಾರತವನ್ನು ಆಧಾರವಾಗಿಟ್ಟುಕೂಂಡ� ರಚಿತವಾಗಿರು� ಕಾದಂಬರ� ಪರ್ವ.ಇದೂಂದು ಮರುಸೃಷ್ಟ�.
ನನಗೆತಿಳಿಯದೆ ಇರುವ ಎಷ್ಟ� ಅಂಶಗಳನ್ನ� ಮತ್ತ� ಮಹಾಭಾರತದಲ್ಲಿ ಬರುವ ಪಾತ್ರಗಳನ್ನ� ಪರ್ವವನ್ನ� ಓದಿದಮೇಲೆಯೇ ತಿಳಿದುಕೂಂಡ�.
ಇಲ್ಲ� ಬರುವ ಪ್ರತಿಯೋಂದು ಪಾತ್ರದ ಬಗ್ಗ�, ಪಾತ್ರದ ಆಲೋಚನೆಗಳ� ಮತ್ತ� ಹಿನ್ನಲೆಗಳಬಗ್ಗೆ, ಕುರುಕ್ಷೇತ್� ಯುದ್ಧದ ಸಿದ್ಧತ� ಮತ್ತ� ಸನ್ನಿವೇಶಗಳ ಬಗ್ಗ� ತುಂಬ� ಅಧ್ಭುತವಾಗಿ ಚಿತ್ರಿಸಿದ್ದಾರೆ ನಮ್ಮ ಸರಸ್ವತ� ಸಮ್ಮಾನ ಪುರಸ್ಕೃತರು. ಉತ್ತರಕಾಂಡವನ್ನು ಓದಿದಾಗ ಪಟ್ಟ ಸಂತೋ� ಪರ್ವವನ್ನ� ಓದಿದ ಮೇಲೆಯೂ ಅನುಭವಿಸಿದೆ. ಧರ್ಮಜನ� ಜೂಜಿನಲ್ಲ� ಸೋ� ಕಾರಣಕ್ಕಾಗಿ, ಕೌರವರು ಪಾಂಚಾಲಿಯನ್ನು ಅವಮಾನಿಸಿದಲ್ಲದೆ, ಪಾಂಡವರಿಗ� ೧೨ ವರ್ಷ ವನವಾ� ಮತ್ತ� ಓಂದು ವರ್ಷ ಅಜ್ಞತವಾಸವನ್ನ� ಅನುಭವಿಸಲ� ಆಜ್ಞ� ಮಾಡುತ್ತಾರೆ. � ಕಾರಣದಿಂದ ಪಾಂಡವರ� ೧೨ ವರ್ಷ ವನವಾ� ಮತ್ತ� ಓಂದು ವರ್ಷ ಅಜ್ಞತವಾಸವನ್ನ� ಅನುಭವಿಸುತ್ತಾರೆ. ಪಾಂಡವರ ಅಜ್ಞಾತವಾಸದ ಬಗ್ಗ� � ಕಾದಂಬರಿಯಲ್ಲಿ ಅಧ್ಭುತವಾಗಿ ವಿವರಿಸಿದ್ದಾರ�.
ಕರ್ಣ� ಪಾತ್ರವ� ನನ್ನ ಮನಸ್ಸಿಗೆ ತುಂಬ� ಇಷ್ಟವಾಯಿತು. ಭೀಮನಿಂ� ಮಲ್ಲ ಯುದ್ಧದಲ್ಲಿ ಸೋತು ಮತ್ತ� ಸತ್ತ ಭಕಾಸುರ,ಜರಾಸಂಧ,ದುರ್ಯೋಧನ� ಬಗ್ಗ� ಮತ್ತ� ಕೃಷ್�,ಯುಯುಧಾ�,ಭೀ�,ಅರ್ಜುನ,ಭೀಷ್�,ದುರ್ಯೋಧ�,ಪಾಂಚಾಲ� ಇನ್ನ� ಹಲವಾರು ಪಾತ್ರಗ� ಬಗ್ಗ� ಸುಂದರವಾಗ� ರಚಿಸಿದ್ದಾರ�. ಪರ್ವವನ್ನ� ಬರೆಯಲು ಭೈರಪ್ಪನವರು ಎಷ್ಟ� ಸಂಶೋಧನೆಯನ್ನು ಮಾಡಿದ್ದಾರೆ ಎಂಬುವುದಕ್ಕ� ಓದಿದರೇ ಅರ್ಥವಾಗುತ್ತದ�. ಪ್ರತಿಯೋಬ್ಬರೂ ಓದಲೇಬೇಕಾ� ಕಾದಂಬರ�.
February 22, 2014
Mahabharatha mythology or history....... This is not just a novel but an well researched book on the subject.. Must have won a Nobel if not written in Kannada language...
July 2, 2020
Bhyrappa has won both the Sahitya Akademi and Padma Shri awards for his works in Kannada and is one of both my mother’s and grandmother’s favourite authors. I wish to one day read some if not all his works in Kannada.
The version I read was translated to English by K. Raghavendra Rao. While this translation is mired with awkward sentences and grammatical errors, one can overlook and forgive them.
Parva is a retelling of Mahabharatha - an epic that needs no introduction. If you are an Indian kid, you have been exposed to this epic and its characters in one form or the other. For me, it was through stories recited by my grandmother and my Telugu teacher, through Amar Chitra Katha comics and also through the TV adaptation (Sunday special).
But Bhyrappa’s rendition is unique. One that has no ‘divine� element. None of these people are gods. There are no demons. They are all just humans. Flawed like you and me. There is a logical explanation for everything.
He spent almost 5 years researching this book, visiting Dwarka, Kurukshetra and even the Himalayas. It took him 14 months to finish writing.
This book is 950 pages long. No chapters. Each “section� is narrated by a specific character.
I am incapable of writing a coherent review of this work. These were some of my thoughts while reading:
--- Using the Pandavas, the author poses the reader with several questions. What is Dharma? Is it merely following and respecting whatever our elders say? (Nakula, Sahadeva). Is it blindly following the scriptures written hundreds of years ago without any critical thinking on one’s part? (Dharmaraya) Or is it knowing that even your own elders can fuck up and having the courage to stand up against them? (Bheema) Or is it always finding the middle ground, making tough sacrifices on both sides to come to an understanding? (Krishna?)
--- Most of all what the author shows us is that Man is both god and demon.
--- Will we ever be rid of a caste or a hierarchical system? Look into the past, it is there. Look around you right now - it’s still there. Is there no getting rid of it? Even the future according to HG Well’s Time Machine has it.
--- Can’t argue with this logic:
--- Also shows how deep rooted patriarchy is in our society. Going back centuries. Gandhari is worshipped as a goddess, considered an ideal woman just because she spent most of her life wearing a blindfold, refusing to see the world which her blind husband could not himself see. Wouldn’t she be more useful to her husband if she became his eyes??
--- Nothing much has changed in terms of politics. Duryodhana too used the same tactics which our leaders use now, and they seem to work just as well:
There is no glory in war. There is just the stench of death and excrement.
There are also no winners.
The version I read was translated to English by K. Raghavendra Rao. While this translation is mired with awkward sentences and grammatical errors, one can overlook and forgive them.
Parva is a retelling of Mahabharatha - an epic that needs no introduction. If you are an Indian kid, you have been exposed to this epic and its characters in one form or the other. For me, it was through stories recited by my grandmother and my Telugu teacher, through Amar Chitra Katha comics and also through the TV adaptation (Sunday special).
But Bhyrappa’s rendition is unique. One that has no ‘divine� element. None of these people are gods. There are no demons. They are all just humans. Flawed like you and me. There is a logical explanation for everything.
He spent almost 5 years researching this book, visiting Dwarka, Kurukshetra and even the Himalayas. It took him 14 months to finish writing.
This book is 950 pages long. No chapters. Each “section� is narrated by a specific character.
I am incapable of writing a coherent review of this work. These were some of my thoughts while reading:
--- Using the Pandavas, the author poses the reader with several questions. What is Dharma? Is it merely following and respecting whatever our elders say? (Nakula, Sahadeva). Is it blindly following the scriptures written hundreds of years ago without any critical thinking on one’s part? (Dharmaraya) Or is it knowing that even your own elders can fuck up and having the courage to stand up against them? (Bheema) Or is it always finding the middle ground, making tough sacrifices on both sides to come to an understanding? (Krishna?)
--- Most of all what the author shows us is that Man is both god and demon.
--- Will we ever be rid of a caste or a hierarchical system? Look into the past, it is there. Look around you right now - it’s still there. Is there no getting rid of it? Even the future according to HG Well’s Time Machine has it.
--- Can’t argue with this logic:
“What is the point of living? What does it matter if one is alive or dead? Why not die this moment? Why die 50 years hence? The goal of life is liberation from the poisonous wheel of life and death. There is no real liberation without the renunciation of the world of desire and selfishness. But, logically, if that is renounced, one has no rationale for living. Only those afraid of death may have to live. But then those fearing death are persons who have not given up their entanglement with the worldly self.�
--- Also shows how deep rooted patriarchy is in our society. Going back centuries. Gandhari is worshipped as a goddess, considered an ideal woman just because she spent most of her life wearing a blindfold, refusing to see the world which her blind husband could not himself see. Wouldn’t she be more useful to her husband if she became his eyes??
--- Nothing much has changed in terms of politics. Duryodhana too used the same tactics which our leaders use now, and they seem to work just as well:
“It is essential to have an enemy. If there is none in reality, one must create the illusion of having one. Otherwise how can one achieve and maintain political unity within the kingdom?� How can one enjoy security of power and position? Yes, we need an enemy to keep us going!�
There is no glory in war. There is just the stench of death and excrement.
There are also no winners.
January 13, 2020
Mythology rarely provides an explanation for their characters motivation or offer reasons to their actions. Parva retells Mahhabharata stripping it off its mythological elements and giving the characters humanity that can be related to.
Will be reviewing in detail :)
Will be reviewing in detail :)
December 25, 2016
my all time favourite book
December 26, 2018
The first time I felt the Mahabharat was stripped down from its glorified version to its gorified version was in 2016 when I read Dharmvir Bharti's 1954 published play 'Andha Yug'. The play was largely focused on the aftermaths of the war between the cousins and the darkness and madness it bought. In 1979 S.L Bhyrappa wrote 'Parv', a novel which I think in the truest sense, stripped down the great Indian epic from all its divinity and over glorification. There are interpretations and versions of the epic where divinity of some characters are mystified, there are also flipped versions of the epic which are told through the eyes of the side which is usually considered as the villianous side of the epic. Then there are also numerous character focused literary works based on the epic. Some of these literary works based on the epic are brilliant gems but what makes Bhyrappa's 'Parv' stand out is they do not shed light on the darker aspects of the epic for instance brutality, gore and futility of the war. As I said Dharmvir Bharti's 'Andha Yug' sheds light on the aftermaths of the war bought and Bhyrappa's 'Parv' shades a great detailed, subtle and insightful light on the long chain of the events which resulted in the aftermaths of madness and darkness.
This book has the most unconventional start to any book based on the Mahabharat which I have read on Mahabharat. The book starts in the kingdom of Madra which is ruled by Shalya. The kingdom of Madra is not much respected and much important kingdom but Shalya is desperate and headstrong to make it one. This part of the novel mostly happens in the form of conversation between Shalya and his sons and other family members. The main emphasis in this part is on the marriage of Hiranyavati - the granddaughter of Shalya. Firstly it seems a matter of a family but as the novel proceeds and the layers lying in the background appears in the foreground and with the appearance of those layers the narrative takes a grim turn. The marriage of Hiranyavati takes political overtones and ultimately becomes the tool of respect and survival of the Madra kingdom. Here Bhyrappa subtly implies that how shakes in the central politics leads to earthquakes in the lives of many people and how a girl who has nothing to do with any kind of politics at all becomes a victim of colleteral damage.
There is a very fine line between female objectification and portraying female characters with all their attributes which also includes the much neglected attributes their sexualities and desires. Most of the literary works based on the epic focus on portraying the ambitions of epic's female characters but fail or to be precise choose to ignore the sexual angle of these characters. Before reading this book I never thought that Kunti and Draupadi represent the two extreme ends of sexual spectrum. Kunti, whose husband Pandu was an impotent and she had her sons through niyog. Here Bhyrappa does a really great job, a real great one, and I think I am never going to read it ever again in a literary work based on Mahabharat. Bhyrappa's version of Kunti fulfil her physical desires with the men she performs niyog with, Bhyrappa has been subtle in implying many of the things in the novel but here he is quite explicit about Kunti's sexual desires and their fulfilment. Though this narrative is explicit yet Bhyrappa finds a perfect space and slams the hypocrisy of the patriarchal society. He did so by using the Pandu-Kunti angle, where Pandu is ready to permit his wife to indulge sexually with other men to get him his sons but on the other hand it will be a sin and the chastity of Kunti will be destroyed even if a single thought of sensuality crosses her mind while performing her "duties" via niyog. The other thing I liked about Kunti's character built up was that there is a whole lot of pride and ambition in the character. The pride of being the rightful queen of the Kuru Kingdom and ambition to get back throne which is rightfully hers. The other unique thing Bhyrappa did in the character building of Kunti was in portraying her physical personality. Unlike other portrayals here she is not fragile and vulnerable but she is tall and strongly built woman with a dominating and towering personality.
If at the one end there is Kunti, then on the other end of the spectrum there is Draupadi. Same as Kunti, I never thought about the hardships faced by Draupadi living with her five husbands. Five husbands who were way different from each other in each and every aspect- The imbecile Dharm who gambled her like she was just another object, the charmer Arjun who won her in an archery contest and then after the intervention of his dominating mother shared her like a trophy with his brothers. She loved Arjun but he never been faithful to her after her he married several women and considered Subhadra as his primary queen. The only of her husbands in which should found a friend is Bheem, who from physical outlook is rigid but from inside he is soft and naive he was also the only one who was angry with Dharma when he gambled her. Same as Kunti's narrative Bhyrappa here is explicit with the same intensity when it comes to Draupadi's sexuality. But unlike Kunti, Draupadi's body and soul took a great toll because of her husbands' desires for her. This transformation, both physical and mental and the humiliation she faced is narrated in quite disturbing manner.
Though it comes towards the end and it is small as compared the narratives of Kunti and Draupadi, but Gandhari's narrative is no less impactful in addressing the problem which I call the "Devi Syndrome". I have heard it somewhere, though I am not sure but most probably in a literature festival, that by giving them a simple prefix - "Devi" we snatch her human rights from a woman. A "Devi" can't have emotions, ambitions and desires, we actually kill a human residing in a woman just by associating a simple prefix with her name. In the novel Krishna asks Gandhari the real reason behind the blindfold and what she revels is the anger and frustration of a woman who is a victim of "Devi Syndrome". Bhyrappa here also stands out from other writers as the reason behind Gandhari's blindfold has never been discussed before or to be precise it was chosen to be neglected.
The novel is told through multi person narratives and along with these narratives the basic plot of Mahabharat is also told. Bhyrappa successfully synced the personal narratives and the basic plot. The personal narratives include that of- Karn, Arjun and the narrative I like most Bheem's narrative. This narrative about Pandavs' brawn is less about his physical prowess and more about naive, loving protective side of Bheem. In this narrative Bheem tells about his love for Salaktankati,the rakshas woman whom he lived with one year and had a son Ghatotkachch by her. Bheem not only discribes his love for Salaktankati but also his longing for her and how his ever dominating mother forced him to leave her. I felt that Bhyrappa has built the character of Bheem a very quite one, most of the time he keeps quite and remains a silent spectator of the events but he speaks when no one dares to speak, he speaks when Draupadi was humiliated, he clearly expresses his anger towards Dharm for gambaling away Draupadi. He is the only one in the novel who confronts Arjun that he is a blind follower of Dharm. But the moment where the character of Bheem absolutely shines is when Bheem sees the face of dead (metaphorically) Duryodhan and walks away Krishna tries to stop him reminding him of his vow of killing Duryodhan but Bheem says that he will not kill an already dead man. Here Bheem sees what the God himself fails to see.
In the first half of the novel there is also narrative of Yuyudhan who is commonly known as Satyaki. This narrative describes the journey of Yadavs from Mathura to Dwarka. The most important aspect of this narrative is that even it is based on the Yadavs it is not told through the perspective of Krishna or Balram. It is told through the perspective of Yuyudhan, a Yadav who is almost of same age as Krishna but in charisma and political intellect he is way inferior. Yuyudhan has seen all the struggles of Yadavs and how did Krishna established the city of Dwarka more importantly he has been the witness of Krishna's ways to establish the kingdom. Yuyudhan is by default is follower of Krishna. But not all the people agree with Krishna's ways and they don't follow him Balram, the elder brother of Krishna has contradicting ideology than that of Krishna. Balram is against Krishna's over involvement in the feud of the cousins. In this narrative Bhyrappa has used Krishna and Balram as conflicting ideologies rather than character and Yuyudhan here represents the confusion which arises when the people in power have conflicting perspectives.
Continuing with his approach of being brutally realistic and practical in the approach Bhyrappa turns the course of the book to the battlefield of Kurukshetra in the second half. Bhyrappa turns the "gloryfield" into a real "battlefield". A land where there is stink of decaying corpses and carcasses and of human and animal feace, a land which is a grand feast for vultures and hyenas and a place where death is dancing its favorite dance in its full glory. The descriptions of the battlefield in the book is literally gut wrenching. In the second half the book thematically also takes a turn. Futility here becomes the major theme. But before exploring the theme of futility Bhyrappa explored a sub-theme of confusion. Confusion among the common soldiers, a confusion that why they are fighting this war? There is an instance in the book where some soldiers are gathered and it is reveled that many of them even don't know why these cousins are fighting this war. They are just there because of their king's command, they are there because it is their duty to follow their king's command; because they are assigned either to kill or get killed. But they have absolutely nothing to do with the family feud. The best thing about exploration of the theme of futility is the selection of characters it is explored through. It is explored through Bheeshm, Drona and Ved Vyas. First it covers the narrative of Drona,where the royal teacher is stripped down from all his greatness to an insecure man and an insecure father who is afraid of his and his son's position in the Kuru kingdom. There are also some gentle strokes of his jealousy with Bheeshm in the narrative. In the book before a day of war Bheeshm travels to the ashram of Ved Vyas,in his way he flash backs his life everything but in this narrative of grand regent there is a very little realisation of the mistakes done by him and there was more of pride. Pride of following his life long celibacy, though he knows that his vow is not only one of the reasons of the war but also reason for ruining many lives yet he has some pride of following his oath in every situation. When he arrives at the ashram of Ved Vyas he finds that Shuk Dev the son of Ved Vyas is dead and what's more surprising is the reason of his death which also solidifies the theme of futility. Shuk Dev died because of fasting, he was fasting because he understood that the social frames, the rules, the dogmas we live in are complete hoax and the forced life in these frames, dogmas and rules is futile. After Shuk Dev's death his father too realises the futility of the knowledge he geathered if he cannot change the mind of his son. When Bheeshm arrives here he too feels the same and all of a sudden everything he lived for most importantly his vow turns out to be futile. Bhyrappa here very subtly condemns the authority of the Vedic lore with layered conversations between Bheeshm and Ved Vyas and also through the conversations between students of Ved Vyas and two atheists who arrive in his ashram.
Apart from being a perfect balance of character driven storytelling and plot driven narration this novel also serves as a brilliant social commentary. Throughout the novel the social conditions of the Sutas is wonderfully narrated. Even though being born of the king they never get their rights because they are not ligitimate children of the kings. Their mothers were the ladies bought by the king or gifted to the king for his "entertainment". Aryans and high caste people can physically indulge with Suta or Non-Aryan women but their offspring will not be considered as the legitimate children of that man and will not have any right over his property. But when it comes to war these children by the Non-Aryans and Sutas stands shoulder to shoulder with them. The best example of this in the book is that Kunti let Bheem live with Salaktankati and even having a son with her but she never accepts her as a daughter-in-law. Bheem never sees Salaktankati or his son with her until the time of war arrives and he as a "father" orders Ghatotkachch to provide his Rakshas army to Pandavs. There is also an inter-cast tussle in the Sutas, here two of the greatest Sutas - Karn and Vidur are jelous of each other which is also another fascinating aspect of this book. What's more ironic is that the characters who are representatives of Aryan Hegemony like Bheeshm, Ved Vyas and Dron directly has blood relation with the people they oppress throughout their lives. Kurus who are very concious and concerned about Sutas and Non-Aryans are biological ancestors of a sage whose mother was a fisherwoman. The climax of the novel is haunting especially the final scene where countless women wearing white comes to Dharm for justice of the wrongs done to them during the war.
'Parv' by far is the best interpretation of the Mahabharat I have ever read.
This book has the most unconventional start to any book based on the Mahabharat which I have read on Mahabharat. The book starts in the kingdom of Madra which is ruled by Shalya. The kingdom of Madra is not much respected and much important kingdom but Shalya is desperate and headstrong to make it one. This part of the novel mostly happens in the form of conversation between Shalya and his sons and other family members. The main emphasis in this part is on the marriage of Hiranyavati - the granddaughter of Shalya. Firstly it seems a matter of a family but as the novel proceeds and the layers lying in the background appears in the foreground and with the appearance of those layers the narrative takes a grim turn. The marriage of Hiranyavati takes political overtones and ultimately becomes the tool of respect and survival of the Madra kingdom. Here Bhyrappa subtly implies that how shakes in the central politics leads to earthquakes in the lives of many people and how a girl who has nothing to do with any kind of politics at all becomes a victim of colleteral damage.
There is a very fine line between female objectification and portraying female characters with all their attributes which also includes the much neglected attributes their sexualities and desires. Most of the literary works based on the epic focus on portraying the ambitions of epic's female characters but fail or to be precise choose to ignore the sexual angle of these characters. Before reading this book I never thought that Kunti and Draupadi represent the two extreme ends of sexual spectrum. Kunti, whose husband Pandu was an impotent and she had her sons through niyog. Here Bhyrappa does a really great job, a real great one, and I think I am never going to read it ever again in a literary work based on Mahabharat. Bhyrappa's version of Kunti fulfil her physical desires with the men she performs niyog with, Bhyrappa has been subtle in implying many of the things in the novel but here he is quite explicit about Kunti's sexual desires and their fulfilment. Though this narrative is explicit yet Bhyrappa finds a perfect space and slams the hypocrisy of the patriarchal society. He did so by using the Pandu-Kunti angle, where Pandu is ready to permit his wife to indulge sexually with other men to get him his sons but on the other hand it will be a sin and the chastity of Kunti will be destroyed even if a single thought of sensuality crosses her mind while performing her "duties" via niyog. The other thing I liked about Kunti's character built up was that there is a whole lot of pride and ambition in the character. The pride of being the rightful queen of the Kuru Kingdom and ambition to get back throne which is rightfully hers. The other unique thing Bhyrappa did in the character building of Kunti was in portraying her physical personality. Unlike other portrayals here she is not fragile and vulnerable but she is tall and strongly built woman with a dominating and towering personality.
If at the one end there is Kunti, then on the other end of the spectrum there is Draupadi. Same as Kunti, I never thought about the hardships faced by Draupadi living with her five husbands. Five husbands who were way different from each other in each and every aspect- The imbecile Dharm who gambled her like she was just another object, the charmer Arjun who won her in an archery contest and then after the intervention of his dominating mother shared her like a trophy with his brothers. She loved Arjun but he never been faithful to her after her he married several women and considered Subhadra as his primary queen. The only of her husbands in which should found a friend is Bheem, who from physical outlook is rigid but from inside he is soft and naive he was also the only one who was angry with Dharma when he gambled her. Same as Kunti's narrative Bhyrappa here is explicit with the same intensity when it comes to Draupadi's sexuality. But unlike Kunti, Draupadi's body and soul took a great toll because of her husbands' desires for her. This transformation, both physical and mental and the humiliation she faced is narrated in quite disturbing manner.
Though it comes towards the end and it is small as compared the narratives of Kunti and Draupadi, but Gandhari's narrative is no less impactful in addressing the problem which I call the "Devi Syndrome". I have heard it somewhere, though I am not sure but most probably in a literature festival, that by giving them a simple prefix - "Devi" we snatch her human rights from a woman. A "Devi" can't have emotions, ambitions and desires, we actually kill a human residing in a woman just by associating a simple prefix with her name. In the novel Krishna asks Gandhari the real reason behind the blindfold and what she revels is the anger and frustration of a woman who is a victim of "Devi Syndrome". Bhyrappa here also stands out from other writers as the reason behind Gandhari's blindfold has never been discussed before or to be precise it was chosen to be neglected.
The novel is told through multi person narratives and along with these narratives the basic plot of Mahabharat is also told. Bhyrappa successfully synced the personal narratives and the basic plot. The personal narratives include that of- Karn, Arjun and the narrative I like most Bheem's narrative. This narrative about Pandavs' brawn is less about his physical prowess and more about naive, loving protective side of Bheem. In this narrative Bheem tells about his love for Salaktankati,the rakshas woman whom he lived with one year and had a son Ghatotkachch by her. Bheem not only discribes his love for Salaktankati but also his longing for her and how his ever dominating mother forced him to leave her. I felt that Bhyrappa has built the character of Bheem a very quite one, most of the time he keeps quite and remains a silent spectator of the events but he speaks when no one dares to speak, he speaks when Draupadi was humiliated, he clearly expresses his anger towards Dharm for gambaling away Draupadi. He is the only one in the novel who confronts Arjun that he is a blind follower of Dharm. But the moment where the character of Bheem absolutely shines is when Bheem sees the face of dead (metaphorically) Duryodhan and walks away Krishna tries to stop him reminding him of his vow of killing Duryodhan but Bheem says that he will not kill an already dead man. Here Bheem sees what the God himself fails to see.
In the first half of the novel there is also narrative of Yuyudhan who is commonly known as Satyaki. This narrative describes the journey of Yadavs from Mathura to Dwarka. The most important aspect of this narrative is that even it is based on the Yadavs it is not told through the perspective of Krishna or Balram. It is told through the perspective of Yuyudhan, a Yadav who is almost of same age as Krishna but in charisma and political intellect he is way inferior. Yuyudhan has seen all the struggles of Yadavs and how did Krishna established the city of Dwarka more importantly he has been the witness of Krishna's ways to establish the kingdom. Yuyudhan is by default is follower of Krishna. But not all the people agree with Krishna's ways and they don't follow him Balram, the elder brother of Krishna has contradicting ideology than that of Krishna. Balram is against Krishna's over involvement in the feud of the cousins. In this narrative Bhyrappa has used Krishna and Balram as conflicting ideologies rather than character and Yuyudhan here represents the confusion which arises when the people in power have conflicting perspectives.
Continuing with his approach of being brutally realistic and practical in the approach Bhyrappa turns the course of the book to the battlefield of Kurukshetra in the second half. Bhyrappa turns the "gloryfield" into a real "battlefield". A land where there is stink of decaying corpses and carcasses and of human and animal feace, a land which is a grand feast for vultures and hyenas and a place where death is dancing its favorite dance in its full glory. The descriptions of the battlefield in the book is literally gut wrenching. In the second half the book thematically also takes a turn. Futility here becomes the major theme. But before exploring the theme of futility Bhyrappa explored a sub-theme of confusion. Confusion among the common soldiers, a confusion that why they are fighting this war? There is an instance in the book where some soldiers are gathered and it is reveled that many of them even don't know why these cousins are fighting this war. They are just there because of their king's command, they are there because it is their duty to follow their king's command; because they are assigned either to kill or get killed. But they have absolutely nothing to do with the family feud. The best thing about exploration of the theme of futility is the selection of characters it is explored through. It is explored through Bheeshm, Drona and Ved Vyas. First it covers the narrative of Drona,where the royal teacher is stripped down from all his greatness to an insecure man and an insecure father who is afraid of his and his son's position in the Kuru kingdom. There are also some gentle strokes of his jealousy with Bheeshm in the narrative. In the book before a day of war Bheeshm travels to the ashram of Ved Vyas,in his way he flash backs his life everything but in this narrative of grand regent there is a very little realisation of the mistakes done by him and there was more of pride. Pride of following his life long celibacy, though he knows that his vow is not only one of the reasons of the war but also reason for ruining many lives yet he has some pride of following his oath in every situation. When he arrives at the ashram of Ved Vyas he finds that Shuk Dev the son of Ved Vyas is dead and what's more surprising is the reason of his death which also solidifies the theme of futility. Shuk Dev died because of fasting, he was fasting because he understood that the social frames, the rules, the dogmas we live in are complete hoax and the forced life in these frames, dogmas and rules is futile. After Shuk Dev's death his father too realises the futility of the knowledge he geathered if he cannot change the mind of his son. When Bheeshm arrives here he too feels the same and all of a sudden everything he lived for most importantly his vow turns out to be futile. Bhyrappa here very subtly condemns the authority of the Vedic lore with layered conversations between Bheeshm and Ved Vyas and also through the conversations between students of Ved Vyas and two atheists who arrive in his ashram.
Apart from being a perfect balance of character driven storytelling and plot driven narration this novel also serves as a brilliant social commentary. Throughout the novel the social conditions of the Sutas is wonderfully narrated. Even though being born of the king they never get their rights because they are not ligitimate children of the kings. Their mothers were the ladies bought by the king or gifted to the king for his "entertainment". Aryans and high caste people can physically indulge with Suta or Non-Aryan women but their offspring will not be considered as the legitimate children of that man and will not have any right over his property. But when it comes to war these children by the Non-Aryans and Sutas stands shoulder to shoulder with them. The best example of this in the book is that Kunti let Bheem live with Salaktankati and even having a son with her but she never accepts her as a daughter-in-law. Bheem never sees Salaktankati or his son with her until the time of war arrives and he as a "father" orders Ghatotkachch to provide his Rakshas army to Pandavs. There is also an inter-cast tussle in the Sutas, here two of the greatest Sutas - Karn and Vidur are jelous of each other which is also another fascinating aspect of this book. What's more ironic is that the characters who are representatives of Aryan Hegemony like Bheeshm, Ved Vyas and Dron directly has blood relation with the people they oppress throughout their lives. Kurus who are very concious and concerned about Sutas and Non-Aryans are biological ancestors of a sage whose mother was a fisherwoman. The climax of the novel is haunting especially the final scene where countless women wearing white comes to Dharm for justice of the wrongs done to them during the war.
'Parv' by far is the best interpretation of the Mahabharat I have ever read.
April 28, 2023
One of the greatest novels I have ever read. This realistic and historical reinterpretation of Mahabharata is done with brilliant literary excellence. I would have to write a review equivalent of a whole book to make justice to this humungous epic. It explores character motivations and trace character arcs that feel brutal and real. Their inner conflict, long monologues, scheming, planning and venting is superbly used by the author to move the plot. I feel fortunate to have read this in the original language. But fortunately it's translated into English. It won't be an easy or a quick read, it might upset or offend people for some liberties taken or some mature themes explored. Read it with an open mind to enjoy the most.
July 5, 2012
மகாபாரதம� நாம் அனைவரும் கேட்� கத� தான் , இந்த மண்ணில� வாழும் அனைவரும் ஒர� முறையாவத� கேட்டு இருப்பார்கள் , இன்ற� மகாபாரதம� ஒர� புரா� கதையாக நமக்கு கிடைகிறத� . கடவுள்கள� , வரங்கள� , சாபங்கள் நிறைந்தத� இந்த புராணம� . கண்டிப்பாக காலம� தோறும் மகாபாரதம� மாறி வந்த� இருக்கும� . புது புது கிளை கதைகள் இணைந்த� இருக்கும� , காலத்துக்க� ஏற்ற மாற்றங்கள் நிகழ்ந்த� இருக்கும� .
மகாபாரதத்தின� காலம� எனபத� இந்திய� ஒர� பழங்குடி சமூகத்தில் இருந்த� மேல் எழுந்த� ஒர� நி� உடமை சமூகமா� மாறும் கா� கட்டம் . பெரும் அரசர்கள் உருவாகும� ஒர� காலத்த� காட்டுகிறத� . அதற்கே உண்டான அற விழிமியங்களை பற்ற� பேசுகிறத� . பெரும் தெய்வங்களா� சிவனும� விஷ்ணுவும் உருவாக தொடங்க� உள்ள காலமாகவே பார்க்� முடிகிறத� . ரிக் வே� காலத்தில� அக்னியும� , இந்திரனும் தான் பெரும் தெய்வங்கள் . விஷ்ணு என்ற� நாம் இன்ற� அறியும� கடவுள் மூன்று தன� நம்பிக்கைகள் உள்ளிழுத்த� கொண்டு உருவானது . எஸ� . எள� ப்ய்ரப்ப� இந்த மகாபார� கதைய� அதன் புனி� தன்மைய� கலைத்த� விட்டு ஒர� வரலாற்று நிகழ்வாக , ஒர� நாவலாக எழுத� இருக்கிறார� .
பருவ� என்ற� கன்னடத்தில� வெளியா� இந்த புகழ� பெற்� நாவல� தமிழில� பருவம் என்ற� பாவண்ணன் அவர்காளால் மொழி பெயர்க்க பட்டுள்ள ஒர� மாபெரும் நாவல� .
கத� தொடங்கும� காலம� மகாபார� யுத்தம� நிகழ உள்ளது . அதற்க்கா� தயாரிப்ப� ஏற்பாடுகளில் பாண்டவர்களும� , கௌரவர்களும� இருக்கிறார்கள் . முக்கியாமா� கத� மாந்தர்கள் குந்தி , பீமன� , திரௌபத� , அர்ஜுனன் , யுயதனன� , பீஷ்மர� , துரோணர� போன்றவர்களின� என்ன ஓட்டங்களால� முன்னகர்கிறத� .
நாவல� நாம் மரபா� அறிந்துள்ள தகவல்களை மற� அமைப்ப� செய்கிறத�. உதாரணமாக பாண்டுக்கு குழந்த� இல்லாததற்க� காரணம் அவன் ஆண்மைய� இழந்தத� தான் அன்ற� முனிவரின� சாபம� இல்ல� . குந்தி வரம் வாங்கி குழந்த� பெற்று கொள்� வில்லை , நியோ� முறையில் இன்னொர� ஆணுடன் உறவு கொண்டே பிள்ளைகள� பெற்று எடுக்கிறாள� . குந்திக்கு நியோகம� செய்யும் ஆண்கள் தேவர� லோகம� என்னும� ஒர� பகுதிய� சேர்ந்தவர்கள� வானத்தில� இருந்த� வரும� தேவர்கள் அல்ல . இத� போல் நாம் தெரிந்� தகவல்களை மற� புரிதலுக்க� உண்டாக்கும� இந்த நாவல� .
திரௌபத� எப்படி ஐந்த� ஆண்களை மணந்து கொண்டால் , அவள் எப்படி அவர்களுடன் உறவு கொண்டால் போன்று விஷயங்கள� புனைவின் சாத்தியங்களுடன� எழுத� உள்ளார� . இந்த நாவல� நடைமுற� எதார்த்தத்தை பற்ற� பேசும் இடங்கள� பெரும் நம்ப� தன்மையுடன் எழுத பட்டுள்ளது .
கதையின� கதாபாத்திரத்தின் உளவியல� அமைப்ப� விவரிக்கும� இடங்களில� , அவர்கள� நமக்கு நெருங்கிவிடுகிரார்கள� . பீமன� தர்மன் பகடை விளையாடியத� கடுமையாக கண்டிக்கிறான� . அவன் வாயிலா� நமக்கு கத� விவரிக்க படும� போது நாமும் அந்த கோபத்த� உணர்கிறோம் . பிறக� அத� அர்ஜுனன் அவன் தரப்பு நியாயங்களுடன� விளக்குகிறான� . இப்படியே பலரின் வாக்குமுலமாக கத� நகர்கிறத� . அவர் அவரின் மனசாட்சி பேசும் நியாயங்கள் .
யுத்தம� முடியும் பகுத� ஒர� மி� பெரி� உணர்ச்சி பிரளயம� வெடிக்கிறத� எல்லோர� மனங்களிலும� .
எங்க� பார்த்தாலும் பிணங்களை திங்கும் கழுகுகள் , ஓநாய்கள் , உடைந்த� போ� தேர்கள� , குதிரைகளின� சடலம� என எங்க� பார்த்தாலும் அழிவின� கோ� முகங்கள் . இப்படி ஒர� அழிவ� யாரும் பார்த்ததில்ல� . கத� முடியும் தருணத்தில் கண்ணன் காந்தாரியை கண்களின் கட்ட� அவிழ்த்த� விடுகிறான் . அவளை கூட்டி கொண்டு யுத்� களத்துக்கு கூட்டி செல்கிறான் அவள் எத� பார்க்கிறாள் தன� மகன்கள� உருவாகிய அழிவ� பார்த்து அஞ்சுகிராள� அவள் ? ஏன� மறுபடியும் கண்களை மூடி கொள்கிறாள் . நாவலின� முடிவில் மி� பெரி� ஒர� தனிம� உணர்வை கொண்டேன் . பாஞ்சாலியின் ஐந்த� மகன்களும� கொல்லபடுகிறார்கள� . அத� பார்த்து பாஞ்சாலி கதறும் போது இந்த யுத்தத்தால� அதிகம் பாதிக்� பட்டவர்கள் பெண்கள� தானோ . அதன் வடுக்களை சுமந்த� இந்த பூமி எனும� பெண்ணும் காலத்தில� முன்னகர்கிறாள் . ஒர� பெரும் மழ� அச்தினாவதியை அதன் அசுதங்களில� இருந்த� சுத்தம� செய்கிறத� . மனிதனின் குரூரத்தின� சாட்சியா� அந்த யுத்தம� காலம� தோறும் மனிதர்களால� சொள்ளபட்டுவருகிறது .
மகாபாரதத்தின� காலம� எனபத� இந்திய� ஒர� பழங்குடி சமூகத்தில் இருந்த� மேல் எழுந்த� ஒர� நி� உடமை சமூகமா� மாறும் கா� கட்டம் . பெரும் அரசர்கள் உருவாகும� ஒர� காலத்த� காட்டுகிறத� . அதற்கே உண்டான அற விழிமியங்களை பற்ற� பேசுகிறத� . பெரும் தெய்வங்களா� சிவனும� விஷ்ணுவும் உருவாக தொடங்க� உள்ள காலமாகவே பார்க்� முடிகிறத� . ரிக் வே� காலத்தில� அக்னியும� , இந்திரனும் தான் பெரும் தெய்வங்கள் . விஷ்ணு என்ற� நாம் இன்ற� அறியும� கடவுள் மூன்று தன� நம்பிக்கைகள் உள்ளிழுத்த� கொண்டு உருவானது . எஸ� . எள� ப்ய்ரப்ப� இந்த மகாபார� கதைய� அதன் புனி� தன்மைய� கலைத்த� விட்டு ஒர� வரலாற்று நிகழ்வாக , ஒர� நாவலாக எழுத� இருக்கிறார� .
பருவ� என்ற� கன்னடத்தில� வெளியா� இந்த புகழ� பெற்� நாவல� தமிழில� பருவம் என்ற� பாவண்ணன் அவர்காளால் மொழி பெயர்க்க பட்டுள்ள ஒர� மாபெரும் நாவல� .
கத� தொடங்கும� காலம� மகாபார� யுத்தம� நிகழ உள்ளது . அதற்க்கா� தயாரிப்ப� ஏற்பாடுகளில் பாண்டவர்களும� , கௌரவர்களும� இருக்கிறார்கள் . முக்கியாமா� கத� மாந்தர்கள் குந்தி , பீமன� , திரௌபத� , அர்ஜுனன் , யுயதனன� , பீஷ்மர� , துரோணர� போன்றவர்களின� என்ன ஓட்டங்களால� முன்னகர்கிறத� .
நாவல� நாம் மரபா� அறிந்துள்ள தகவல்களை மற� அமைப்ப� செய்கிறத�. உதாரணமாக பாண்டுக்கு குழந்த� இல்லாததற்க� காரணம் அவன் ஆண்மைய� இழந்தத� தான் அன்ற� முனிவரின� சாபம� இல்ல� . குந்தி வரம் வாங்கி குழந்த� பெற்று கொள்� வில்லை , நியோ� முறையில் இன்னொர� ஆணுடன் உறவு கொண்டே பிள்ளைகள� பெற்று எடுக்கிறாள� . குந்திக்கு நியோகம� செய்யும் ஆண்கள் தேவர� லோகம� என்னும� ஒர� பகுதிய� சேர்ந்தவர்கள� வானத்தில� இருந்த� வரும� தேவர்கள் அல்ல . இத� போல் நாம் தெரிந்� தகவல்களை மற� புரிதலுக்க� உண்டாக்கும� இந்த நாவல� .
திரௌபத� எப்படி ஐந்த� ஆண்களை மணந்து கொண்டால் , அவள் எப்படி அவர்களுடன் உறவு கொண்டால் போன்று விஷயங்கள� புனைவின் சாத்தியங்களுடன� எழுத� உள்ளார� . இந்த நாவல� நடைமுற� எதார்த்தத்தை பற்ற� பேசும் இடங்கள� பெரும் நம்ப� தன்மையுடன் எழுத பட்டுள்ளது .
கதையின� கதாபாத்திரத்தின் உளவியல� அமைப்ப� விவரிக்கும� இடங்களில� , அவர்கள� நமக்கு நெருங்கிவிடுகிரார்கள� . பீமன� தர்மன் பகடை விளையாடியத� கடுமையாக கண்டிக்கிறான� . அவன் வாயிலா� நமக்கு கத� விவரிக்க படும� போது நாமும் அந்த கோபத்த� உணர்கிறோம் . பிறக� அத� அர்ஜுனன் அவன் தரப்பு நியாயங்களுடன� விளக்குகிறான� . இப்படியே பலரின் வாக்குமுலமாக கத� நகர்கிறத� . அவர் அவரின் மனசாட்சி பேசும் நியாயங்கள் .
யுத்தம� முடியும் பகுத� ஒர� மி� பெரி� உணர்ச்சி பிரளயம� வெடிக்கிறத� எல்லோர� மனங்களிலும� .
எங்க� பார்த்தாலும் பிணங்களை திங்கும் கழுகுகள் , ஓநாய்கள் , உடைந்த� போ� தேர்கள� , குதிரைகளின� சடலம� என எங்க� பார்த்தாலும் அழிவின� கோ� முகங்கள் . இப்படி ஒர� அழிவ� யாரும் பார்த்ததில்ல� . கத� முடியும் தருணத்தில் கண்ணன் காந்தாரியை கண்களின் கட்ட� அவிழ்த்த� விடுகிறான் . அவளை கூட்டி கொண்டு யுத்� களத்துக்கு கூட்டி செல்கிறான் அவள் எத� பார்க்கிறாள் தன� மகன்கள� உருவாகிய அழிவ� பார்த்து அஞ்சுகிராள� அவள் ? ஏன� மறுபடியும் கண்களை மூடி கொள்கிறாள் . நாவலின� முடிவில் மி� பெரி� ஒர� தனிம� உணர்வை கொண்டேன் . பாஞ்சாலியின் ஐந்த� மகன்களும� கொல்லபடுகிறார்கள� . அத� பார்த்து பாஞ்சாலி கதறும் போது இந்த யுத்தத்தால� அதிகம் பாதிக்� பட்டவர்கள் பெண்கள� தானோ . அதன் வடுக்களை சுமந்த� இந்த பூமி எனும� பெண்ணும் காலத்தில� முன்னகர்கிறாள் . ஒர� பெரும் மழ� அச்தினாவதியை அதன் அசுதங்களில� இருந்த� சுத்தம� செய்கிறத� . மனிதனின் குரூரத்தின� சாட்சியா� அந்த யுத்தம� காலம� தோறும் மனிதர்களால� சொள்ளபட்டுவருகிறது .
July 18, 2011
This is a FANTASTIC book on the Indian epic Mahabharat. While there is debate on whether this story is mythology or an actual event, the author has done a spectacular job of writing the epic in a believable, it-could-have-actually-happened way. The author spent decades in researching the actual customs/traditions in ancient India & has justified many actions/events outlined in the epic, that otherwise is regularly classified as fictional/godly.
The epic is an important & revered book for the hindus, with many of the characters treated as demi-gods. The author has depicted every character as humans with strengths, weaknesses & vulnerabilitiy. This view made the author unpopular among the purists, the religious fundamentalists & those who felt offended that the demi-gods could be depcicted as human.
I, personally enjoyed this version & put this book in the top 3 favorite books of all time.
NOTE:
The book goes into great detail on the epic. The depth & level of detail has deterred many, half way through the book.
The epic is an important & revered book for the hindus, with many of the characters treated as demi-gods. The author has depicted every character as humans with strengths, weaknesses & vulnerabilitiy. This view made the author unpopular among the purists, the religious fundamentalists & those who felt offended that the demi-gods could be depcicted as human.
I, personally enjoyed this version & put this book in the top 3 favorite books of all time.
NOTE:
The book goes into great detail on the epic. The depth & level of detail has deterred many, half way through the book.
January 3, 2013
So far, Bhyrappa's best novel. A reinterpretation of Mahabharatha by revisiting those elements of the epic which seem too far fetched and away from reality. One of the best novels of Kannada literature and an indispensable part of its history.
February 15, 2016
A brilliant original take on Mahabharata stripping it completely of its divine elements and holiness of characters. A dozen point-of-views thru a lot of monologues, a no. of questions and observations that i have not found in the dozen other books on d epic that i have read.
October 12, 2015
One of the most best books on Mahabharatha from
each characters point of view
Bhyrappa is a hidden gem in regional Indian literature
Happy I got to read his translation
each characters point of view
Bhyrappa is a hidden gem in regional Indian literature
Happy I got to read his translation
November 29, 2020
Parva can only be described as a magnum opus. Reviewing an epic comes with the obvious challenge of not being able to capture all of its glory. How does one view it? At its heart, it is a retelling of the Mahabharata, stripped of its mythological aspects. But to leave it at that would be a gross injustice. One may consider it a commentary on what Dharma is. We discover the politics, warfare, and strategy of the Vedic times. There is an exploration of a wide range of human emotions, from jealousy to ecstasy. Simply put, as the cover suggests, it is a tale of War, Peace, Love, Death, God, and Man.
I have read quite a few retellings of the Mahabharata, and some are narrated through the lens of one character in the epic (Bhima, Gandhari). But Parva encompasses them all! A series of flashbacks from all the epic's notable characters take the story forward, and it is done with the onset of the great war.
While the question of what encompasses Dharma has an undercurrent throughout the tale, all these characters' human emotions and personalities put the story in a whole new light.
Was it really a battle between two rival siblings, or was it the conclusion of a long struggle between two rival kingdoms - The Panchalas and the Kurus? Why was Bhishma siding with the Kauravas? Was the practice of Niyōga against Dharma? Was Arjuna really as virtuous? Were Bhima and Krishna right in claiming that following Kshatriya Dharma led to the Pandavas' eventual downfall at the dice game? How did Draupadi view her relationship with the Pandavas? The dynamics between two respected Sūtas, Vidura and Karna. The role of Sūtas as the bearers of Kshatriya men's children out of wedlock and as charioteers. The backstory of Krishna fleeing from Mathura to Dwaraka and his eventual usurping of Jarasandha. On the relationship between Krishna, Balarama, and Satyaki. On how the Nāgas (depicted as tribals) and Raksasās were viewed with disdain by the Aryan folks. It goes on and on. Every character is extolled only to be brought down the next instant, making this book so enjoyable. The myriad interwoven stories and motivations and beliefs, all coming together, make for an absolutely fascinating read.
The translation to English from the original in Kannada makes a few passages mundane. Some of the conversations between characters provide comic relief, which acts as a counterbalance to the overall narration's grave nature.
And then we come to the war itself, and what a narration it is! If for nothing else, just the names of characters and kingdoms and their alliances with the Kauravas or Pandavas alone makes one gape in awe. The war is described elaborately, along with all the difficulties accompanied - the stench of human and animal waste, the lack of grain, water, other resources, the fear of death, the tactics involved, the slow decline in the rules agreed upon, the ego battles, the corpses increasing in the battlefield and being devoured upon by vultures, dogs and jackals. It is as gruesome and grave as any real war would have been.
When the war comes to a close, one senses the devastation and the loss of lives on both sides. The entire Aryan lineage is decimated. Bhyrappa ends it with a long drawn passage reflecting on the ruin spread across the kingdom and beyond, with the Yadavas fighting each other unto death and the pregnant Sūta women questioning their plight to Yudhishtra.
That Bhyrappa is a legend is unquestionable. Reading his opus Parva makes one wonder how many more Indian classics are waiting to be discovered because they're written in a regional language.
I have read quite a few retellings of the Mahabharata, and some are narrated through the lens of one character in the epic (Bhima, Gandhari). But Parva encompasses them all! A series of flashbacks from all the epic's notable characters take the story forward, and it is done with the onset of the great war.
While the question of what encompasses Dharma has an undercurrent throughout the tale, all these characters' human emotions and personalities put the story in a whole new light.
Was it really a battle between two rival siblings, or was it the conclusion of a long struggle between two rival kingdoms - The Panchalas and the Kurus? Why was Bhishma siding with the Kauravas? Was the practice of Niyōga against Dharma? Was Arjuna really as virtuous? Were Bhima and Krishna right in claiming that following Kshatriya Dharma led to the Pandavas' eventual downfall at the dice game? How did Draupadi view her relationship with the Pandavas? The dynamics between two respected Sūtas, Vidura and Karna. The role of Sūtas as the bearers of Kshatriya men's children out of wedlock and as charioteers. The backstory of Krishna fleeing from Mathura to Dwaraka and his eventual usurping of Jarasandha. On the relationship between Krishna, Balarama, and Satyaki. On how the Nāgas (depicted as tribals) and Raksasās were viewed with disdain by the Aryan folks. It goes on and on. Every character is extolled only to be brought down the next instant, making this book so enjoyable. The myriad interwoven stories and motivations and beliefs, all coming together, make for an absolutely fascinating read.
The translation to English from the original in Kannada makes a few passages mundane. Some of the conversations between characters provide comic relief, which acts as a counterbalance to the overall narration's grave nature.
And then we come to the war itself, and what a narration it is! If for nothing else, just the names of characters and kingdoms and their alliances with the Kauravas or Pandavas alone makes one gape in awe. The war is described elaborately, along with all the difficulties accompanied - the stench of human and animal waste, the lack of grain, water, other resources, the fear of death, the tactics involved, the slow decline in the rules agreed upon, the ego battles, the corpses increasing in the battlefield and being devoured upon by vultures, dogs and jackals. It is as gruesome and grave as any real war would have been.
When the war comes to a close, one senses the devastation and the loss of lives on both sides. The entire Aryan lineage is decimated. Bhyrappa ends it with a long drawn passage reflecting on the ruin spread across the kingdom and beyond, with the Yadavas fighting each other unto death and the pregnant Sūta women questioning their plight to Yudhishtra.
That Bhyrappa is a legend is unquestionable. Reading his opus Parva makes one wonder how many more Indian classics are waiting to be discovered because they're written in a regional language.
February 3, 2021
Parva: a tale of love, war, peace, death, god and man
Is it really a tale as it claims to be?. I am still pondering over that question even after I finished reading it.
When I hear Mahabharatha, It is always a tale of love, war, peace, death, god, and man. But walking alone in the darkest interpretation of Mahabharatha through Parva crumbled all the ideals reaped from Epics. The author slaughtered righteousness, magnanimousness, and idealistic characters into stinking pieces with his undeniable interpretation connected by the realities of human nature in the face of war.
Byrappa is always my favorite author because of the way he serves truth to the audience without succumbing to any social pressure. Each book of him pushed me to death of intellect by serving the elixir with two-edged truth. Parva is also one edge of the two-edged truth.
What makes "Parva" standout in its own genre among the considerable literary works in Kannada literature is its acute analysis of our Epics(history). if you are already aware of Mahabharatha, the content in the book disgust you to the core and sometimes feels like throwing away the book.
Guess what? You cant throw it away though you disgusted by it. all unanswered taboo questions are decoded with the intellect and common sense with the thread of human nature.
Selfishness, greed, insecurity, deceit, sexual desires, and arrogance ingrained in human nature painted in the big canvas of Parva with vivid colors, Byrappa being a Picasso of it. You cant like or connect idealistically with a single character, It feels like how can humans behave like animals sometimes. Sometimes it feels like, arent we all animals?. You will be in a love-hate relationship with the character despite the wickedness in each character.
A female character like Kunti, Gandhari, and Draupadi played a significant role till the end of the book. Woman are not presented with ideas of virtue and chastity here, all-female characters are presented with weakness and strength as humans. Maybe Bhyrappa trying to give a voice to all pains, suffering, and diminished desires of women through strong characters like Kunti and Draupadi. You will be appalled or displeased by all female characters in the book, But the same repulsiveness would make you see a woman as human more than culturally conditioned objects.
if you are reading a real version of Mahabharatha without a spiritual background, you will end up reading a fantasy book. Some stories seem to be fabricated and delusional if your interpretation and imagination cant go beyond the logic of intellect. if you are really looking for a logical answer, Parva might offer its helping hand to a certain extent.
75% of the book make reading enjoyable with distinct interpretation, But the rest of the 25% of the book lose their balanced interpretation with repetition of the same stories. Fire ritual, ghee, and stinking in war exaggerated in such a way you feel like the author doesn't have anything to write.
The author did his best to be a voice of different Mahabharata characters, But he decides not to be the voice of Duryodhana, Krishna, Karna, and Shakuni. The main characters we cherish for their righteousness and cunningness are not highlighted in Parva which leaves you despondent.
Another problem I had with the book is, there are so many instances where the story stopped in the middle without an answer or conclusion and directly jumps into another story without addressing the previous story. There are so many questions in me or in the book that are left unanswered.
It is a must-read book!.
Is it really a tale as it claims to be?. I am still pondering over that question even after I finished reading it.
When I hear Mahabharatha, It is always a tale of love, war, peace, death, god, and man. But walking alone in the darkest interpretation of Mahabharatha through Parva crumbled all the ideals reaped from Epics. The author slaughtered righteousness, magnanimousness, and idealistic characters into stinking pieces with his undeniable interpretation connected by the realities of human nature in the face of war.
Byrappa is always my favorite author because of the way he serves truth to the audience without succumbing to any social pressure. Each book of him pushed me to death of intellect by serving the elixir with two-edged truth. Parva is also one edge of the two-edged truth.
What makes "Parva" standout in its own genre among the considerable literary works in Kannada literature is its acute analysis of our Epics(history). if you are already aware of Mahabharatha, the content in the book disgust you to the core and sometimes feels like throwing away the book.
Guess what? You cant throw it away though you disgusted by it. all unanswered taboo questions are decoded with the intellect and common sense with the thread of human nature.
Selfishness, greed, insecurity, deceit, sexual desires, and arrogance ingrained in human nature painted in the big canvas of Parva with vivid colors, Byrappa being a Picasso of it. You cant like or connect idealistically with a single character, It feels like how can humans behave like animals sometimes. Sometimes it feels like, arent we all animals?. You will be in a love-hate relationship with the character despite the wickedness in each character.
A female character like Kunti, Gandhari, and Draupadi played a significant role till the end of the book. Woman are not presented with ideas of virtue and chastity here, all-female characters are presented with weakness and strength as humans. Maybe Bhyrappa trying to give a voice to all pains, suffering, and diminished desires of women through strong characters like Kunti and Draupadi. You will be appalled or displeased by all female characters in the book, But the same repulsiveness would make you see a woman as human more than culturally conditioned objects.
if you are reading a real version of Mahabharatha without a spiritual background, you will end up reading a fantasy book. Some stories seem to be fabricated and delusional if your interpretation and imagination cant go beyond the logic of intellect. if you are really looking for a logical answer, Parva might offer its helping hand to a certain extent.
75% of the book make reading enjoyable with distinct interpretation, But the rest of the 25% of the book lose their balanced interpretation with repetition of the same stories. Fire ritual, ghee, and stinking in war exaggerated in such a way you feel like the author doesn't have anything to write.
The author did his best to be a voice of different Mahabharata characters, But he decides not to be the voice of Duryodhana, Krishna, Karna, and Shakuni. The main characters we cherish for their righteousness and cunningness are not highlighted in Parva which leaves you despondent.
Another problem I had with the book is, there are so many instances where the story stopped in the middle without an answer or conclusion and directly jumps into another story without addressing the previous story. There are so many questions in me or in the book that are left unanswered.
It is a must-read book!.
July 6, 2016
I have been dabbling in interpretation of Mahabharata by various authors in past few years. Started with R K Lakshman then Gurcharan Das then Chitra Divakurni and then Devdatt Patnaik. Devdatt tried a little bit to make Mahabharata more humane and tale of people during those ancient times. He started good but then later fell into trap pf glorifying characters in the epic. He teased me to see The Epic more as a reflection of society of ancient people and there evolution then a Mythology. SLB takes from where Devdatt left and gives you a story with no holds barred. He doesn't shy away from humanising the Godly characters in the epic. Bhishma, Arjun, Krishna , Draupadi etc are shown as mortals with strengths and weaknesses, dilemmas and lot of shades of greys. The reality behind 100 Kaurava brothers, Niyoga, servant maids etc show the society of those times. SLB does a fantastic job of keeping you interested in the story which one would have heard or read so
Many times. He keeps you on hooks all through the 950 pages. Ending is dark and real. Draupadi's disappointment with her life and Kunti's emotional politics and futility of all the war and sufferings hit you hard. SLB takes Dharma and interprets it with a intensity so raw that you start to understand the hypocrisy of the same. An amazing saga of love, hypocrisy, jealousy, greed, politics, sex and war.
Many times. He keeps you on hooks all through the 950 pages. Ending is dark and real. Draupadi's disappointment with her life and Kunti's emotional politics and futility of all the war and sufferings hit you hard. SLB takes Dharma and interprets it with a intensity so raw that you start to understand the hypocrisy of the same. An amazing saga of love, hypocrisy, jealousy, greed, politics, sex and war.
May 20, 2015
The book showcases a different viewpoint of what happened during, before and after mahabharatha. It gives the perspective of some of the characters in the story in a way which has not been done before. It's like a good behind-the-scene view of what is usually portrayed as mahabharatha.
The book has not been written well as it appears to be the direct translation from kannada, but if that bit can be ignored, the story and the information is quite captivating. The book ends very abruptly.
The book has not been written well as it appears to be the direct translation from kannada, but if that bit can be ignored, the story and the information is quite captivating. The book ends very abruptly.
September 18, 2014
By far, the best book I have read about Mahabharata. If you are interested in understanding how the real life would have been, instead of bollywood style two flowers touching each other, who actually would have begot whom, and more than that, what those "human beings" would have thought and done - this is the book to read.
October 20, 2020
Exceptional... Read 3 times and I'll read this book every new year instead of partying in night club...
May 28, 2020
ಪರ್ವ ಭ್ಯರಪ್ಪನವರ ಅತ್ಯುತ್ತ� ಕಾದಂಬರ�. ಸಾಮಾನ್ಯವಾಗ� ಪೌರಾಣಿ� ಬರಹಗಳು ಅತ� ಗ್ರಾಂಥಿಕ ಭಾಷೆಯಲ್ಲ� ಇರುತ್ತವೆ, ಆದರೆ ಭ್ಯರಪ್� ಮಹಾಭಾರತದ ಕಥೆಯನ್ನು ವೈಚಾರಿ� ದೃಷ್ಟಿಕೋನದಿಂ� ಬರೆದಿದ್ದಾರ�. ಒಂದು ಸಾವಿ� ಇನ್ನೂರ� ಪುಟಗಳಲ್ಲ� ಮಹಾಭಾರತದ ಕಥೆಯನ್ನು ಸಾಂದ್ರೀಕರಿಸ� ವಾಸ್ತವಿಕ ಹಾಗು ವಸ್ತುನಿಷ್ಟ ಭಾಷೆಯೊಂದಿಗ� ಮಹಾಭಾರತವನ್ನು ಮರಳಿ ವ್ಯಾಖ್ಯಾನಿಸಿದರ�.
ಅವ� ಭಾಷಾಂತ� ಸುಂದರವಾಗಿದ�. ಪ್ರತ� ವಾಕ್� ಸರ� ಹಾಗು ಸಂಕೀರ್ಣವಾಗಿದ�. ಭ್ಯರಪ್� ಕೊನೆ� ಅಧ್ಯಾಯ� ಪ್ರತ� ಒಂದು ವಾಕ್ಯವನ್ನು ಸಂಪೂರ್ಣಗೊಳಿಸಲು ತುಂಬ� ಕಷ್ಟ ಪಟ್ಟರು. ದೇವಾಲಯ� ಮೇಲೆ ಕೆತ್ತನ� ಮಾಡಿದಂತೆ ಪರ್ವ� ಭಾಷೆ� ಪ್ರತ� ವಾಕ್� ಸುಂದ� ಹಾಗು ಪರಿಪೂರ್ಣವಾಗಿದೆ.
ಪರ್ವ ಕಾದಂಬರ� ಓದುವಾಗ ನನ್ನ ಪುಟ್� ವಿಮರ್ಶ� ಏನಂದರೆ ಭ್ಯರಪ್ಪನವರ ಲೇಖನ� ಪರಿಚ್ಛೇದಗಳ� ತುಂಬ� ಉದ್ದವಾಗಿರುತ್ತವ�. ಕೆಲವ� ಪರಿಚ್ಛೇದಗಳ� ಎರಡು-ಮೂರು ಪುಟುಗಳಗೆ ವಿಸ್ತರಿಸುತ್ತವೆ. ಭ್ಯರಪ್ಪನವರ ಲೇಖನ� ಶೈಲಿಯನ್ನ� ನನಗೆ ನೊಬೆಲ್ ಪ್ರೈಜ್ ವಿಜೇ� ಲೇಖಕ Jose Saramago ಅತ್ಯಂತ ಪ್ರಸಿದ್ಧ ಕಾದಂಬರ� Ensaio sobre a cegueira (Blindness) ನೆನಪಿಸುತ್ತದೆ. ಆದರೆ, Saramagoನವ� ಬರವಣಿಗೆಗಿಂ� ಭಿನ್ನವಾಗ� ಭ್ಯರಪ್ಪನವರ ದೀರ್� ಪರಿಚ್ಛೇದಗಳ� ಪುಸ್ತಕ� ಸಂಪೂರ್� ಭಾವನೆಯನ್ನು ವರ್ಧಿಸುವುದಿಲ್ಲ.
� ಸಣ್ಣ ವಿಮರ್ಶ� ಹೊರತ� ನನ್ನ ಪ್ರಕಾರ ಭ್ಯರಪ್� ಕನ್ನ� ಭಾಷೆ� ಅತ್ಯುತ್ತ� ಬರಹಗಾರ. ನನ್ನ ಪ್ರಕಾರ ಅವರು ಮಾತ್� ಪ್ರತ� ವಾಕ್� ಕಲೆಯಂತ� ಬರೆಯುತ್ತಾರ�. ಅವ� ಬರಹಗಳಿಂದಾಗ� ನಾನು ಮಾತೃಭಾಷೆ ಪ್ರಶಂಸಿಸಲುಕಲಿತ�, ಹಾಗಾಗಿ ಯಾವಾಗಲ� ಭ್ಯರಪ್ಪನವರಿಗ� ನಾನು ನನ್ನ ಕ್ರತಜ್ನತ� ಸಲ್ಲಿಸುತ್ತೇನ�, ಹಾಗು ನನ್ನ ಶ್ಲಾಘನ� ತೋರಿಸುತ್ತೇನೆ.
ಅವ� ಭಾಷಾಂತ� ಸುಂದರವಾಗಿದ�. ಪ್ರತ� ವಾಕ್� ಸರ� ಹಾಗು ಸಂಕೀರ್ಣವಾಗಿದ�. ಭ್ಯರಪ್� ಕೊನೆ� ಅಧ್ಯಾಯ� ಪ್ರತ� ಒಂದು ವಾಕ್ಯವನ್ನು ಸಂಪೂರ್ಣಗೊಳಿಸಲು ತುಂಬ� ಕಷ್ಟ ಪಟ್ಟರು. ದೇವಾಲಯ� ಮೇಲೆ ಕೆತ್ತನ� ಮಾಡಿದಂತೆ ಪರ್ವ� ಭಾಷೆ� ಪ್ರತ� ವಾಕ್� ಸುಂದ� ಹಾಗು ಪರಿಪೂರ್ಣವಾಗಿದೆ.
ಪರ್ವ ಕಾದಂಬರ� ಓದುವಾಗ ನನ್ನ ಪುಟ್� ವಿಮರ್ಶ� ಏನಂದರೆ ಭ್ಯರಪ್ಪನವರ ಲೇಖನ� ಪರಿಚ್ಛೇದಗಳ� ತುಂಬ� ಉದ್ದವಾಗಿರುತ್ತವ�. ಕೆಲವ� ಪರಿಚ್ಛೇದಗಳ� ಎರಡು-ಮೂರು ಪುಟುಗಳಗೆ ವಿಸ್ತರಿಸುತ್ತವೆ. ಭ್ಯರಪ್ಪನವರ ಲೇಖನ� ಶೈಲಿಯನ್ನ� ನನಗೆ ನೊಬೆಲ್ ಪ್ರೈಜ್ ವಿಜೇ� ಲೇಖಕ Jose Saramago ಅತ್ಯಂತ ಪ್ರಸಿದ್ಧ ಕಾದಂಬರ� Ensaio sobre a cegueira (Blindness) ನೆನಪಿಸುತ್ತದೆ. ಆದರೆ, Saramagoನವ� ಬರವಣಿಗೆಗಿಂ� ಭಿನ್ನವಾಗ� ಭ್ಯರಪ್ಪನವರ ದೀರ್� ಪರಿಚ್ಛೇದಗಳ� ಪುಸ್ತಕ� ಸಂಪೂರ್� ಭಾವನೆಯನ್ನು ವರ್ಧಿಸುವುದಿಲ್ಲ.
� ಸಣ್ಣ ವಿಮರ್ಶ� ಹೊರತ� ನನ್ನ ಪ್ರಕಾರ ಭ್ಯರಪ್� ಕನ್ನ� ಭಾಷೆ� ಅತ್ಯುತ್ತ� ಬರಹಗಾರ. ನನ್ನ ಪ್ರಕಾರ ಅವರು ಮಾತ್� ಪ್ರತ� ವಾಕ್� ಕಲೆಯಂತ� ಬರೆಯುತ್ತಾರ�. ಅವ� ಬರಹಗಳಿಂದಾಗ� ನಾನು ಮಾತೃಭಾಷೆ ಪ್ರಶಂಸಿಸಲುಕಲಿತ�, ಹಾಗಾಗಿ ಯಾವಾಗಲ� ಭ್ಯರಪ್ಪನವರಿಗ� ನಾನು ನನ್ನ ಕ್ರತಜ್ನತ� ಸಲ್ಲಿಸುತ್ತೇನ�, ಹಾಗು ನನ್ನ ಶ್ಲಾಘನ� ತೋರಿಸುತ್ತೇನೆ.
October 28, 2015
ಪರ್ವ ಓದಿದ ನಂತರ ನನಗನಿಸಿದ್ದ� ಭೈರಪ್ಪನವರು ಕೇವಲ ಒಬ್ಬ ಲೇಖಕರಲ್ಲ ಅವರು ಒಬ್ಬ ದೊಡ್� ಮನಃಶಾಸ್ತ್ರಜ್� ರೆಂದ�.
ಪರ್ವವನ್ನ� ಒಂದು ಕಟ್ಟ� ಕತೆಯಲ್ಲದ� ನಡೆದ ಐತಿಹಾಸಿಕ ಘಟನೆಯಂಬಂತೆ ಚಿತ್ರಿಸಿದ್ದಾರೆ. ಮಹಭಾರತ� ಪಾತ್ರಗ� ಮನಸ್ಸಿನೊಳಗ� ಇಳಿದ� ಅವ� ಭಾವನ�, ದ್ವಂದ್ವತ� ಮತ್ತ� ಅಂತಃಕರಣವನ್ನು ಓದುಗ� ಮನಸ್ಸಿಗೆ ಹತ್ತಿರವಾಗಿರುವಂತೆ ವಿವರಿಸಿದ್ದಾರ�.
ಮನುಷ್ಯ� ಸ್ವಭಾವವನ್ನ� ಕಾ� ಮತ್ತ� ತಾನಿರು� ಜಾಗದಿಂ� ಬೇರ್ಪಡಿಸಿದರೂ ಅವ� ಮನಸ್ಸೆಂದರೆ ಅಸಂಖ್ಯ ಭಾವನ� ಕಲ್ಪನೆಗಳ ಮೂಲವೆಂದು ಒಂದೊಂದ� ಪುಟವ� ಹೇಳುತ್ತಿರುವಂತೆ ಭಾಸವಾಗುತ್ತದೆ.
ಪರ್ವ� ಎಲ್ಲ� ಪ್ರಮುಖ ಪಾತ್ರಗಳು ಅವರು ಬದಕುತ್ತಿರು� ರೀತಿಯೇ ಧರ್ಮವಾದುದು ಎಂ� ಸ್ವಪ್ರಶಂಸೆ� ರಾಗವನ್ನು ಓದುಗರಿಗೆ ಕೇಳುವಂತೆ ಭೈರಪ್ಪನವರು ಸೊಗಸಾಗ� ನುಡಿಸಿದ್ದಾರೆ. ಭಾವನೆಗ� ಸಂಘ್ಹರ್ಷಣೆಗಳ� ಪರ್ವ� ಪ್ರಮುಕ ಚಿಹ್ನೆ.
ಪಾಂಡವರ ಹುಟ್ಟಿ� ವಿಷಯ� ಗೊಂದಲದಿಂ� ಆರಂಭವಾಗು� ಫರ್ವ. ಹುಟ್ಟೆಂದರೆ ಕೇವಲ� ಬೀಜಕ್ಕ� ಹುಟ್ಟಿದ್ದು ಮಾತ್ರವ�? ಅಥ� ನಿಯೋಗದಿಂ� ಹುಟ್ಟಿದುದು ಹುಟ್ಟಲ್ಲವೇ? ಎಂ� ನೈತಿ� ಪ್ರಶ್ನೆಗಳನ್ನ� ಓದುಗ� ಮುಂದ� ಸ್ರುಷ್ಟಿಸುತ್ತದ�.
ಮೂ� ಮಹಾಭಾರ� ಮನಸ್ಸಿ� ಭಾವನೆಗಳನ್ನ� ತಾಕದಿರಬಹುದ� ಆದರೆ ಪರ್ವ ಮನಸ್ಸಿ� ಉದ್ವೇಗವನ್ನ� ಹೆಚ್ಚಿಸುತ್ತದ�.
ಪರ್ವದಲ್ಲ� ಬಹ� ಇಷ್ಟವಾ� ನುಡಿ
'ಹುಟ್ಟಿಗೆ ಅರ್ಥವಿಲ್ಲದಿರುವಾಗ ಸಾವು ಅನರ್ಥವಲ್�'
ಪರ್ವವನ್ನ� ಒಂದು ಕಟ್ಟ� ಕತೆಯಲ್ಲದ� ನಡೆದ ಐತಿಹಾಸಿಕ ಘಟನೆಯಂಬಂತೆ ಚಿತ್ರಿಸಿದ್ದಾರೆ. ಮಹಭಾರತ� ಪಾತ್ರಗ� ಮನಸ್ಸಿನೊಳಗ� ಇಳಿದ� ಅವ� ಭಾವನ�, ದ್ವಂದ್ವತ� ಮತ್ತ� ಅಂತಃಕರಣವನ್ನು ಓದುಗ� ಮನಸ್ಸಿಗೆ ಹತ್ತಿರವಾಗಿರುವಂತೆ ವಿವರಿಸಿದ್ದಾರ�.
ಮನುಷ್ಯ� ಸ್ವಭಾವವನ್ನ� ಕಾ� ಮತ್ತ� ತಾನಿರು� ಜಾಗದಿಂ� ಬೇರ್ಪಡಿಸಿದರೂ ಅವ� ಮನಸ್ಸೆಂದರೆ ಅಸಂಖ್ಯ ಭಾವನ� ಕಲ್ಪನೆಗಳ ಮೂಲವೆಂದು ಒಂದೊಂದ� ಪುಟವ� ಹೇಳುತ್ತಿರುವಂತೆ ಭಾಸವಾಗುತ್ತದೆ.
ಪರ್ವ� ಎಲ್ಲ� ಪ್ರಮುಖ ಪಾತ್ರಗಳು ಅವರು ಬದಕುತ್ತಿರು� ರೀತಿಯೇ ಧರ್ಮವಾದುದು ಎಂ� ಸ್ವಪ್ರಶಂಸೆ� ರಾಗವನ್ನು ಓದುಗರಿಗೆ ಕೇಳುವಂತೆ ಭೈರಪ್ಪನವರು ಸೊಗಸಾಗ� ನುಡಿಸಿದ್ದಾರೆ. ಭಾವನೆಗ� ಸಂಘ್ಹರ್ಷಣೆಗಳ� ಪರ್ವ� ಪ್ರಮುಕ ಚಿಹ್ನೆ.
ಪಾಂಡವರ ಹುಟ್ಟಿ� ವಿಷಯ� ಗೊಂದಲದಿಂ� ಆರಂಭವಾಗು� ಫರ್ವ. ಹುಟ್ಟೆಂದರೆ ಕೇವಲ� ಬೀಜಕ್ಕ� ಹುಟ್ಟಿದ್ದು ಮಾತ್ರವ�? ಅಥ� ನಿಯೋಗದಿಂ� ಹುಟ್ಟಿದುದು ಹುಟ್ಟಲ್ಲವೇ? ಎಂ� ನೈತಿ� ಪ್ರಶ್ನೆಗಳನ್ನ� ಓದುಗ� ಮುಂದ� ಸ್ರುಷ್ಟಿಸುತ್ತದ�.
ಮೂ� ಮಹಾಭಾರ� ಮನಸ್ಸಿ� ಭಾವನೆಗಳನ್ನ� ತಾಕದಿರಬಹುದ� ಆದರೆ ಪರ್ವ ಮನಸ್ಸಿ� ಉದ್ವೇಗವನ್ನ� ಹೆಚ್ಚಿಸುತ್ತದ�.
ಪರ್ವದಲ್ಲ� ಬಹ� ಇಷ್ಟವಾ� ನುಡಿ
'ಹುಟ್ಟಿಗೆ ಅರ್ಥವಿಲ್ಲದಿರುವಾಗ ಸಾವು ಅನರ್ಥವಲ್�'
December 5, 2019
This has become my favorite retelling of Mahabharata. A retelling of Mahabharata without any divine elements, or mythological elements. I loved how he gave reasonable logical explanations for the magic stuff.
For eg :- Kunti doesn't get sons because she prayed to Gods. Gandhari's son's weren't born from a pound of flesh. Bhima's mother wasn't Goddess Ganga
.
It makes you ponder on the question what is Dharma
Who does the plant belong, the seed or the soil
For eg :- Kunti doesn't get sons because she prayed to Gods. Gandhari's son's weren't born from a pound of flesh. Bhima's mother wasn't Goddess Ganga
.
It makes you ponder on the question what is Dharma
Who does the plant belong, the seed or the soil
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