EPIC CONVENTIONS

Color Theme- Dakshita | Dechen | Cherring

INTRODUCTION- DAKSHITA
Good Morning Everyone. I hope you all had a fun time with your families in
the past holidays. As we resume with the discussions and presentations
concerning our texts once again, me (Dakshita), Dechen, and Chhering are
present before you today with a presentation on the text of the
Mahabharata, concerning its structural and conceptual feautures.
By the end of the presentation we hope to have provided an overview on the
overall narratology, themes, conventions, and specifications of the text. It is
not as plain as it sounds though. If you pay attention, by the end you will
realise the sheer complexity yet beauty of the text and why it is a
foundational block in the literary culture and tradition of India.
I request Cherring to take over now.

GENERAL DEFINING FEATURES OF INDIAN EPICS- CHHERING

Good morning everyone. I will start now with a very foundational yet
important topic of today’s presentation, and that is about what defines the
Indian Epics. What are their defining features?
Firstly, Indian Epics are narrative in nature- which means they
Tell a story in song, poetry, rhythmic prose, and also with perhaps some
unsung parts.
Secondly, they are poetic, meaning they are formulaic and mostly have an
ornamental style.
Thirdly, they are heroic- much like what we have studied about the Greek
Epics and Tragedies- they tell adventures of extraordinary people.
However, there can be thematic and character based variations.
Either it showcases martial and human blends with the magical and celestial,
with no clear division between the two realms, and hero or heroines often
deified after death, crossing from human to divine.
Or that,
Epic hero or heroines are not necessarily models or exemplary ideals for
human behavior, which means, their actions may not offer practical advice or
assistance to the rest of us in living our everyday lives.
Fourthly, the feature that gets highlighted is the intermingling of deities and
humankind. Gods mix in human affairs for their own and the cosmos’
benefit. Epics attribute social and moral problems of humankind to the will of
the gods, such as- Gods make humans sin, die, and expose humans to
conflicts, and that humans cannot escape their fate, or that human suffering
is inevitable and life is sometimes ruthless in nature.
I think a majority of you will agree that these concepts have also endured the
ravages of time and continue to be a part or layman psychological processes
even today.
I will request Dechen to elaborate on the next topic now.

THREE EPIC TYPES IN INDIAN LITERARY CULTURE- DECHEN

The major Indian epic types are - Marital, Sacrificial, and Romantic.

Indian epics encompass a rich tapestry of themes, prominently featuring

three major epic types: Marital, Sacrificial, and Romantic. Marital epics, such
as the Ramayana, delve into the complexities of duty, loyalty, and familial
bonds.

Sacrificial epics, exemplified by the Mahabharata, explore the consequences

of power struggles and ethical dilemmas, often revolving around a grand
conflict. Romantic epics, like the stories of Radha and Krishna, weave tales of
divine love, passion, and spiritual devotion. Together, these epic types
showcase the diversity of Indian storytelling, reflecting the cultural,
philosophical, and moral nuances embedded in the country's ancient
narratives.

FUNCTIONS OF EPIC PERFORMANCES- CHHERING

An interesting aspect of Indian storytelling is that it tends to be majorly
performative in nature. Why is this performative aspect necessary though?
What are its functions?
Epics and their ceremonial performaces act as a means for protection and
documentation for the ritual beliefs of the people. It tells the story of a
community or culture, and helps in the continuity of the tradition and self-
identity of a culture.
The Mahabharata for example, has repeatedly acted as a social sample of the
bygone ages for modern day sociologists even though its origins and
differentiations of truth and myth are hugely debated. It is also a source of
great sentiment and pride in tradition of multitudes of communities of the
country and beyond.

COMMON EPIC THEMES AND TEACHINGS- CHHERING

Now, onto the common themes and teachings followed by Sanskrit and folk
epics.
Firstly there is-
Dharma, the cosmic law of righteousness, the moral law, and one’s ethical
duty:
The Mahabharata may be considered a “great treatise on dharma”, and its
epic heroes’ stories drive home the teachings of dharma. Note well, however,
that the teachings of dharma are subtle and not easy to define in specific epic
texts.
Then comes the theme of-
Fatalism: fate, or daiva, expresses the will of the gods and will be done. The
gods’ cosmic interests are often in conflict with those of humans: fate, in
Indian epics is a strong, oppressive force which manifests itself in
unpredictable ways and places the central characters in difficult positions.
And thirdly:
The Doctrine of divine grace and the way of bhakti (devotion or love) to final
release (or moksha): The Mahabharata may also be considered to teach these
cosmic precepts. Krishna is omnipresent as the divine manifestation in the
midst of human conflicts, and the epic’s heroes are Krishna’s most ardent
devotees.
A great example many of you might remember is, if you are familiar with the
Mahabharata, that Arjuna was clouded with hesitation and moral conflict
before the great battle, since it was his own kinfolk that he was supposed to
kill. In the Bhagavad Gita, Krishna is the one to dispel these doubts of him.
In this way, Krishna allows Arjuna tounderstand the necessity of killing his
kinsmen in the cosmic context. Krishna’s grace teaches bhakti (love, devotion)
as the means to liberation from the wheel of death and rebirth (samsara),
reconnecting to the theme we just dicussed.

STRUCTURE OF THE MAHABHARATA- DAKSHITA

According to multiple sources, the Mahabharata is the longest story ever
written and it was composed in a form that was a mixture of prose and
poetry.
Originally, this tale was composed of around 8000 shlokas. Gradually, it
reached the form in which it is known today- a massive narrative of around
1,00,000 shlokas. Undoubtedly, the composition has to have happened in
layers and chapters. So here I will throw some light on the 18 Parvas or
chapters of the story. You can try to guess the chapter contents in your minds
by the names-
1. Adi Parva – Sets up the story describing the origin of the core stories
roughly till the Indraprastha story.
2. Sabha Parva - This chapter recounts the story of dice game leading to
eventual exile of the Pandavas.
3. Vana Parva - This chapter provides the detail of the twelve years spent
in exile by the Pandavas. (vanaprastha)
4. Virata Parva - This chapter describes the last year of incognito.
5. Udyoga Parva - This chapter contains the stories of preparations,
consultations and negotiations for the war.
6. Bhishma Parva - This chapter describes the first ten days of war when
Bhishma was the chief commander of the Kaurava forces. It also
includes the Bhagavad Gita.
7. Drona Parva - The next five days of the war are recounted with Drona
as the chief commander of the Kaurava forces.
8. Karna Parva - The next two days of the war are described with Karna
as the chief commander of the Kaurava forces.
9. Shalya Parva -This chapter describes the last day of the war when
Shalya is the chief commander of the Kaurava forces.
10.Sauptika Parva - The incidents which happen at the night of the
eighteenth day are recounted.
11.Stree Parva - This chapter includes the lamentation of the widows after
the battle.
12.Shanti Parva - Bhishma, lying on the bed of arrows, gives a long
discourse on various Yudhishthira about various subjects. This is the
longest chapter of the Mahabharata.
13.Anushasan Parva - Bhishma gives discourse on various other subjects
finally preparing Yudhishthira to become a good ruler.
14.Ashwamedha Parva - Pandavas conduct the Ashwamedha sacrifice and
establish their dominion.
15.Ashramavasika Parva - The elders of the house retire to the forest
where they eventually meet their end due to a forest fire.
 16.Mausal Parva - Realisation of Gandhari's curse and the end of the
Yadavas.
17.Mahaprasthanika Parva - The Pandavas retire and begin their journey
towards Swarga. This is the shortest chapter.
18.Swargarohanika Parva - The final chapter that describes the ascent of
Yudhishthira to Swarga and his meeting with his family. Everybody
returns to their respective abode.
Later, a chapter called Harivamsa describing the early life of Krishna was
added to the epic as an appendix.

MAHABHARATA: A STOREHOUSE OF STORIES- DECHEN

Mahabharata- A Storehouse of Stories and the four main dialogues-
Vaisampayana, Bhishma, Ugrasravas, Sanjay.

The Mahabharata stands as a monumental storehouse of stories,

encompassing a vast array of narratives that transcends time and morality.
Comprising over 100,000 shlokas or poetic verses, this epic is a treasure trove
of wisdom, profound teachings and it contains a sleuth of ethical dilemmas.
Within its expansive narrative, four main dialogues emerge as pivotal
components. Vaisampayana, the narrator, provides a comprehensive account
of the Kurukshetra War and the events leading up to it. Bhishma, the grand
patriarch, imparts invaluable insights on dharma (duty) and righteousness.
Ugrasrava, the storyteller, narrates the epic to a gathering of sages,
preserving its oral tradition. Sanjaya, blessed with divine sight, offers a
unique perspective on the battlefield, narrating the events to King
Dhritarashtra. These four dialogues intricately weave the fabric of the
Mahabharata, each contributing to the epic's multifaceted exploration of
human existence and between right and wrong.

HILTEBEITEL’S PROPOSITION- DAKSHITA

In ‘Rethinking the Mahabharata’, Alf Hiltebeitel offers a unique model for
understanding the great epic. Seeing the Mahabharata as a unified work,
Hiltebeitel claims that it includes interwoven narrative frames that are also
poetic devices. It is interlinked to what Dechen elaborated on a while ago.
According to Alf, there are 3 frames of the narrative- The authorial frame, the
generational frame, and the cosmological frame.
 The neutral voice that introduces the epic and keeps it going is the
authorial frame because it represents Vyāsa narrating the
Mahabharata to five of his disciples.
 Hiltebeitel believes that the composition of the Mahabharata took
about a couple of generations, and Vaiśampāyan, as Vyāsa's disciple, is
the second generation. So Vaiśampāyan's recitation is the generational
frame.
 Finally, Ugraśravas's recitation is the cosmological frame, because it
takes place in the Naimiṣa Forest, which Hiltebeitel identifies as a locus
where stories "transcend time and defy ordinary conceptions of
space".

ON THE MAHABHARATA AS AN EPIC- DECHEN

The Mahabharata stands out as an unparalleled epic in the rich bottomless
pit of world literature, encapsulating the essence of Indian culture,
philosophy, and spirituality. Composed by the sage Vyasa, this colossal work
extends beyond a mere chronicle of the Kurukshetra War, delving into
profound discussions on morality, duty, and the intricacies of human
relationships. With its diverse array of characters, from the virtuous Pandavas
to the complex Kauravas, the epic offers a nuanced exploration of the human
condition. The Bhagavad Gita, a sacred dialogue embedded within the
Mahabharata, serves as a philosophical centerpiece, imparting timeless
teachings on righteousness and the path to spiritual enlightenment. Its
narrative scope, philosophical depth, and cultural resonance make the
Mahabharata not just a literary masterpiece but a reservoir of timeless
wisdom that continues to captivate and inspire.

CHARACTERISTICS OF THE MAHABHARATA AS AN EPIC- DAKSHITA

Concludingly, I will provide an overview of the major characteristics of the
Mahabharata as an epic and as a story in brief pointers. I will also share these
with you later, after getting them approved from ma’am because I believe
these points provide a well defined outline of the contents, or you can make
brief notes if you want.
 So the mahabharata is believed to have been initially called "Jaya,"
conveying a tale of triumph.
 "Mahabharata" can be split into Maha (the great) and Bharata (the
story), suggesting "The Great Story."
 An epic is a lengthy heroic poem with a serious theme.
 Narration typically begins with an invocation/prayer to the Gods, often
performed by the narrator.
 The narrator introduces a central question/theme that shapes the
entire narrative, usually related to a general truth.
 Epics are episodic, with interconnected yet logically complete episodes.
 Each episode contributes to the overall narrative but can stand alone
logically.
 The style of an epic is formal, grand in scope, and eloquent in
expression.
 Favours oratory and stylized language, often incorporating epic
conventions and similes.
 Epics feature heroes with extraordinary or divine powers.
 Heroes may have divine lineage, interact with gods, and draw
strength/knowledge from them.
 In the Mahabharata, unlike the Ramayana, no single character is
exclusively heroic, reflecting the complexity of events and characters
over three generations.
 Some gods appear as characters, testing the strength and virtues of
important human characters.
 Vyas and Krishna are examples of characters with a divine-human
duality.
 Each character in the Mahabharata displays a distinct temperament
and moral attitude.
 Conflicts between characters represent conflicts between different
value systems.
 An epic is expected to conclude positively, promising a better and just
world.
  The Mahabharata, with its theme of the fight between good and evil,
aligns with this expectation, emphasizing the conflict between dharma
(righteousness) and adharma (unrighteousness).
 The Mahabharata, unlike the Ramayana, is seen as a historical epic,
focusing on human weaknesses rather than an idealized hero.
 Characters in the Mahabharata are more numerous and realistic,
reflecting a critical representation of a bygone heroic age.
 Suggested that the Mahabharata does not fit the Western model of the
heroic epic but reflects a critical representation of a past heroic age
from a subsequent age of enlightenment.
 The Mahabharata places human interactions with gods at the forefront,
with characters dealing with dilemmas and decisions in the divine
context.

So, that was all from the three of us. Although it was lengthy and might have
been a little monotonous but we did our best amalagamate mutiple aspects
into the presentation.
Thank you!