Saaralaa Mahaabhaarata creatively reimagines the epic with unique local elements, blending profound insights into dharma, karma & moksha with folk traditions & regional cultural nuances
Bhaskar Parichha
‘Introducing Saaralaa Mahaabhaarata’
Bibhudendra Narayana Patnaik
Central Institute of Indian Languages
Manasagangotri, Mysore
Sarala Mahabharata, composed by the 15th-century Odia poet Sarala Dasa, is a significant literary work that reinterprets the classic Sanskrit Mahabharata. Unlike a mere translation, Sarala’s version stands as an independent narrative that reflects the cultural and social dynamics of his time.
Sarala Dasa, originally named Siddheswara Parida, wrote the Sarala Mahabharata during the reign of Kapilendra Deva, the Gajapati king of Odisha (1435–67). The work is notable for its deviation from the original Sanskrit text, both in structure and thematic focus. Sarala aimed to make the epic accessible to the common people, particularly the illiterate peasantry, by employing a colloquial style that resonated with the local dialects of Odisha.
Sarala Mahabharata does not include significant sections found in Vyasa’s version, such as the Santi Parva, which contains philosophical discourses. Instead, it emphasizes narrative elements that reflect local culture and values. The text serves as a synthesis of literature, history, and geography, incorporating contemporary political events and geographical references relevant to Odisha during Sarala’s time.
This contextualization enriches the narrative and provides insights into the socio-political landscape of 15th-century Odisha. Sarala presents characters like Draupadi and Kunti with more nuanced perspectives. For instance, he explores Draupadi’s reluctance regarding her marriage to the five Pandavas through dialogues that highlight her action. While it lacks the philosophical depth of Vyasa’s work, Sarala’s Mahabharata critiques social hierarchies and challenges Brahminical orthodoxy. It subtly undermines caste distinctions and aristocratic privileges through its storytelling.
Sarala Mahabharata is celebrated for its artistic merit and linguistic innovation. By transforming the epic into a vernacular form, Sarala Dasa not only preserved its essence but also made it relevant to his audience. His work is often compared to other regional adaptations of the Mahabharata, showcasing how local narratives can diverge significantly from their Sanskrit roots while retaining core themes.
Saaralaa Mahaabhaarata has not been translated into English. It has also not been translated into any Indian language, except for Bengali, where only a portion of a sixteenth-century version is currently accessible.
The present work, titled ‘Introducing Saaralaa Mahaabhaarata’ by Bibhudendra Narayana Patnaik, represents a novel effort to familiarize readers with the epic. Comprising five distinct essays that stand alone, this innovative approach seeks to condense the epic into a more accessible format, capturing its essence.
Prof. Patnaik writes in the preface: ‘Saaralaa’s Mahaabhaarata is a truly wonderful retelling in verse in Odia of the classical Mahabharata story. This remarkably creative storyteller conceptualized parts of the great narrative differently; as a result, among others, some of his characters do not resemble their counterparts in the canonical version. Sakuni is one. Gandhari is another. Similarly, there are numerous episodes in his retelling which have no correspondence in Vyasa – the canonical – Mahabharata.
Duryodhana’s crossing of the river of blood, the ripening of the mango of truth, and the worship of Krishna in the form of Nilamadhaba after his passing away are just three of the many. Some episodes take a different form; for instance, the archery test which Arjuna won, Draupadi’s disrobing, and Aswasthama’s revenge.’
‘Unlike in the classical narrative in which the Pandavas did not know that he was their brother when Karna was alive, it was no secret to anyone in this narrative – everyone in Saaralaa Mahaabhaarata knew who he was ever since his childhood. And Sarala’s Krishna is not the same as the Krishna in the classical version; the two differ in many ways, including the extent of the avatara’s involvement in human affairs, which shows that Sarala had a somewhat different understanding of the nature of divine intervention. These apart, Sarala has given us a purer story, much of the deliberations of a philosophical nature, whether on statecraft or the duty of a king or on virtuous living.’
In a sense, Prof Patnaik exhibits a captivating storytelling style, seamlessly blending his narrative with his interpretations of the tales. This work presents the author’s insights into Sarala’s concepts of dharma, moksha, karma, and rebirth, as well as the interplay of negative and positive forces in the world.
It explores the human condition, its limitations and potential, the nature of divine intervention in human affairs, the moral dilemmas posed by war, and the immediate and long-term repercussions of conflict, among various other themes. It delves into the lives of numerous characters who are often overlooked in discussions about the Mahabharata, providing them with significant attention and detail. The narrative structure is non-linear.
In the five thoughtful essays, he frequently returns to particular stories throughout various sections, offering brief excerpts in some areas while providing more detailed accounts in others, thereby emphasizing different facets within diverse contexts. This technique intricately intertwines Sarala’s narratives with reflective insights, creating a complex and layered story. As a result, readers can readily grasp the central themes of Sarala’s work and appreciate his remarkable creativity. Those who are acquainted with the significant events of the Vyasa Mahabharata will assuredly gain a deeper understanding of Sarala’s distinctive interpretation.
This book presents non-Odia readers with an opportunity to appreciate the unique originality and creative genius of Sarala, a truly remarkable storyteller.
An excellent discourse.
(The author is a senior journalist and columnist. Views expressed are personal.)
