Mahabharata

(elements of epic poetry)

I. Sense

The language, style, and meter of the various Mahabharata sections vary
considerably. One can refer to "epic Sanskrit" as the language of popular epics in a very
broad sense. In truth, the epic's language is more archaic in some sections than in
others, being more closely akin to the ancient Indian of the Vedic prose writings.
Additionally, the epic has portions written in archaic prose that are occasionally
rhythmical and alternate with verses.

II. Sound

The epic's sound devices are employed to generate certain effects that
communicate and reinforce meaning through sound. The poet's author use repetition to
entice readers to become more committed and enthusiastic about the poetry. This
sound method enhances the significance of the epic's versus by making them "sing."
The rhyming scheme is end rhyme with the pattern AABB.

Mahabharata book I: The advent of Arjun

Gauntleted and jewel-girdled, with his bow of ample height,

Archer Arjun pious-hearted to the gods performed a rite,

Then he stepped forth proud and stately in his golden mail encased,

Like the sunlit cloud of evening with the golden rainbow graced,

Mahabharata book II: The Bride

Sound the drum and voice the sankha! Brightly dawns; the bridal day,

Fresh from morning s pure ablutions comes the bride in garments gay,

And her golden bridal garland, carrying on her graceful arm.

Softly, sweetly, steps Draupadi, queen of every winning charm!

III. Structure

The number of lines, the number of syllables, and the rhyming of particular words
and phrases all contribute to the structure of poetry. The Mahabharata is one of India's
major epics, written in Sanskrit and comprising the canon of Hindu literature. The
Mahabharata consists of 18 volumes, each of which has two lines or couplets.

IV. Speaker

The speaker serves as the poem's narrative voice. The Mahabharata is told by a
succession of narrators, resulting in a framed, nested narrative. However, Mahabharat
is not narrated from any particular point of view in the original version of the poetry.
Vaishampyana, a disciple of Krishna Dwaivapyana Vyasa or VedVyas, narrates it to
Janamejaya, Parikshit's grandson.

V. Sensory / Poetic Images

The section of the epic where the pyre is described as "looking like planets in a
cloudless sky" (The funeral pyre) is an example of visual imagery used in the poetry; the
spectacular image of the pyre is compared to a cosmic phenomenon to convey how
profound, how extraordinarily significant, the just-ended war appeared to be. It implies a
scale greater than earthly or human. Another instance is when Krsna discloses his full
form. Arjuna sees an infinite number of gods and a brilliance of light in Krsna's body for
the first time in his life. Here, in the midst of a conflict, the picture of Krsna's true body is
employed to emphasize the profound distinction between gods and humanity, as well as
to remind Arjuna of the enormous force that dictates his destiny.