Mahabharata Folk Variations

By Indrajit Bandyopadhyay

This book consists of two essays - (a) Variations in Indonesian Mahabharata, and (b) How Balarama Became Abhimanyu’s Father-In-Law. Mahabharata is a living tradition in Indonesia like in India. However, the folk tradition of Indonesia narrates a Mahabharata that despite retaining the basic frame of Indian Mahabharata, is still much different. In the first essay, the author points out the major variations in Indonesian Mahabharata that would help researchers in comparative study to find ready reference. The second essay deals with Folk variation in Mahabharata as found in South India. The second essay focuses on a particular narrative that brings out the marginalized characters of classical Mahabharata in rich glory.

• Language: English
• Publisher: Lulu.com
• Release date: Dec 4, 2011
• ISBN: 9781105320767

Book preview

Mahabharata Folk Variations

Mahabharata Folk Variations

Indrajit Bandyopadhyay

© 2011 Indrajit Bandyopadhyay.

All rights reserved.

ISBN 978-1-105-32076-7

Contents

1   Variations in Indonesian Mahabharata

2   How Balarama Became Abhimanyu’s Father-In-Law

Variations in Indonesian Mahabharata

Ramayana and Mahabharata reached Java along the trade routes by the first centuries C.E. and possibly much earlier. Naturally, some of the Mahabharata narratives in Indonesia may be older than the Indian Mahabharata in its present corpus, which was still evolving as late as 4th Century A.D. There is thus, no way turning away from the Indonesian version, some parts of which may even be closer to Vyasa's 'original'. It is better to admit at the outset that though we propose here to discus some major Indonesian variations, the term 'variation' is entirely relative in so far as it may well be the other way round.

Our main sources of the Indonesian version are the old Javanese Literatures and renderings, folk culture and Wayang puppet show. Most scholars now agree that Wayang made its entry in Javanese culture at the latest during the rule of King Sri Maha Panggung (Raden Jaka Pakukuhan), in the 4th century. Furthermore it was developed by Airlangga, one of the great kings in East Java in the 11th century. Wayang Kulit was declared by the United Nations Educational, Scientific and Cultural Organization a masterpiece of the oral and intangible of humanity in Paris on Nov.7, 2003.

Wayang Kulit means shadow from leather. Wayang is a Javanese word meaning shadow or ghost, kulit means leather. It is a theatrical performance of living actors (Wayang orang), three dimensional puppets (Wayang golek) or shadow images projected before a backlit screen (Wayang kulit). The Wayang kulit uses two-dimensional puppets chiseled by hand of buffalo or goat parchment; like paper dolls, but with arms that swivel. The story teller and puppet master is called Dalang. He plays different characters with its different voice, with the accompaniment of Gamelan, Javanese traditional orchestra, as the background music. These shadow puppet plays (there are well over 200 different plays) contain the elements of the great Indian epics but have been made uniquely Javanese.

Bil Baird, in his book 'The Art of the Puppet ' says, 'Perhaps the most interesting of the south-Indian puppet types … were the Tholubomalatta -- the articulated, leather, shadow puppets -- which are the probable ancestors of Indonesia's Wayang.' Victor H. Mair gives a concise run-down of the literary evidence for ancient Indian shadow theatre: 'It is likely that the shadow play existed already in the first century B.C……there is a reference to rupparupakam in the Pali Therigatha (Hymns of the Elder Nuns). This may be compared to a reference to rupopajivana in the twelfth book of the Mahabharata (12.194, II. 5-6)…….the tolubommalata (the play of leather dolls) of Andhra Pradesh, the tolubommalata (the play of leather dolls) of Tamil Nadu, the togalugombai atta (the play of leather dolls) of Karnataka, and the tholupava kootu (the play of leather dolls) of Kerala…….In Indonesia, whereto Hindu culture spread around AD 100, we have the Wayang theatre. One form of Wayang theatre serves to demonstrate the possible origin of puppetry from picture explanations. Considered the oldest form of Wayang, this is the Wayang beber, a picture narration form. Its history is interesting and revealing for the demonstration of the origins of shadow theatre.'

The Mahabharata narratives as found in present Wayang consist of folk-narratives developed by Wayang puppet-masters and bards over the ages, as also the narratives of Old Javanese Literature, which perhaps itself owes much to Folk-narratives. Kakawin Bharatayuddha is an Old Javanese poetical rendering of some Parvas of the Mahabharata by Mpu Sedah and his brother Mpu Panuluh in Indian meters (kavya or Kakawin). The commencement of this work was exactly November 6, 1157. It is by far the oldest extant Javanese work. Some important Kakawins relevant to our present discussion are – Kakawin Arjunawiwaha, by Mpu Kanwa, - 1030, Kakawin Krsnayana, Kakawin Bharatayuddha, by Mpu Sedah and Mpu Panuluh, 1157, Kakawin Hariwangsa Kakawin Gatotkacasraya, Kakawin Arjunawijaya, by Mpu Tantular, and Kakawin Parthayajña.

With reference to Old Javanese literature and particularly Wayang puppet show, let us now see what major variations we find in the Indonesian narrative from its Indian origin. Let us also see the similarities of some Indian variations with the Indonesian narrative.

Shantanu-Satyavati-Prashara-Vyasa

In the wayang kulit/leather-puppet performance Prabu Matsyapati or Durgandana, is the King of Wiroto(Virata). He is the son of Basukiswara, a just and powerful king of Cedhiwiyasa. Virataraja Matsya is Satyabati's brother. Satyabati or Durgandini makes love to Bambang Palasara (Rishi Parashara) in a boat and produces five children.

Among them one daughter Rekatawati later on marries her own