attempt was made to prevent the further expansion of the work. The contents of the Epic were described in some prefatory verses, and the number of couplets in each Book was stated. The total number of couplets, according to this metrical preface, is about eighty-five thousand. But the limit so fixed has been exceeded in still later centuries; further additions and interpolations have been made; and the Epic as printed and published in Calcutta in this century contains over ninety thousand couplets, excluding the Supplement about the Race of Hari.

The modern reader will now understand the reason why this great Epic – the greatest work of imagination that Asia has produced – has never yet been put before the European reader in a readable form. A poem of ninety thousand couplets, about seven times the size of the Iliad and the Odyssey put together, is more than what the average reader can stand; and the heterogeneous nature of its contents does not add to the interest of the work. If the religious [372] works of Hooker and Jeremy Taylor, the philosophy of Hobbes and Locke, the commentaries of Blackstone and the ballads of Percy, together with the tractarian writings of Newman, Keble, and Pusey, were all thrown into blank verse and incorporated with the Paradise Lost, the reader would scarcely be much to blame if he failed to appreciate that delectable compound. A complete translation of the Maha-bharata therefore into English verse is neither possible nor desirable, but portions of it have now and then been placed before English readers by distinguished writers. Dean Milman’s graceful rendering of the story of Nala and Damayanti is still read and appreciated by a select circle of readers; and Sir Edwin Arnold’s beautiful translation of the concluding books of the Epic is familiar to a larger circle of Englishmen. A complete translation of the Epic into English prose has also been published in India, and is useful to Sanscrit scholars for the purpose of reference.

But although the old Epic has thus been spoilt by unlimited expansion, yet nevertheless the leading incidents and characters of the real Epic are still discernible, uninjured by the mass of foreign substance in which they are embedded – even like those immortal marble figures which have been recovered from the ruins of an ancient world, and now beautify the museums of modern Europe. For years past I have thought that it was perhaps not impossible to exhume this buried Epic from the superincumbent mass of episodical matter, and to restore it to the modern world. For years past I have felt a longing to undertake this work, but the task was by no means an easy one. Leaving out all episodical matter, the leading narrative of the Epic forms about one-fourth of the work; and a complete translation even of this leading story would be unreadable, both from its length and its prolixness. On the other hand, to condense the story into shorter limits would be, not to make a translation, but virtually to write a new poem; and that was not what I desired to undertake, nor what I was competent to perform.

There seemed to me only one way out of this difficulty. The main incidents of [the] Epic are narrated in the original work in passages which are neither

diffuse nor unduly prolix, and which are interspersed in the leading narrative of the Epic, as that narrative [373] itself is interspersed in the midst of more lengthy episodes. The more carefully I examined the arrangement, the more clearly it appeared to me that these main incidents of the Epic would bear a full and unabridged translation into English verse; and that these translations, linked together by short connecting notes, would virtually present the entire story of the Epic to the modern reader in a form and within limits which might be acceptable. It would be, no doubt, a condensed version of the original Epic, but the condensation would be effected, not by the translator telling a short story in his own language, but by linking together those passages of the original which describe the main and striking incidents, and thus telling the main story as told in the original work. The advantage of this arrangement is that, in the passages presented to the reader, it is the poet who speaks to him, not the translator. Though vast portions of the original are skipped over, those which are presented are the portions which narrate the main incidents of the Epic, and they describe those incidents as told by the poet himself.

This is the plan I have generally adopted in the present work. Except in the three books which describe the actual war (Books viii., ix., and x.), the other nine books of this translation are complete translations of selected passages of the original work. I have not attempted to condense these passages nor to expand them; I have endeavoured to put them before the English reader as they have been told by the poet in Sanscrit. Occasionally, but rarely, a few redundant couplets have been left out, or a long list of proper names or obscure allusions has been shortened; and in one place only, at the beginning of the Fifth Book, I have added twelve couplets of my own to explain the circumstances under which the story of Savitri is told. Generally, therefore, the translation may be accepted as an unabridged, though necessarily a free translation of the passages describing the main incidents of the Epic.

From this method I have been compelled to depart, much against my wish, in the three books describing the actual war. No translation of an Epic relating to a great war can be acceptable which does not narrate the main events of the war. The war of the Maha-bharata, was a series of eighteen battles, fought on eighteen [374] consecutive days, and I felt it necessary to present the reader with an account of each day’s work. In order to do so, I have been compelled to condense, and not merely to translate selected passages. For the transactions of the war, unlike the other incidents of the Epic, have been narrated in the original with almost inconceivable prolixity and endless repetition; and the process of condensation in these three books has therefore been severe and thorough. But, nevertheless, even in these books I have endeavoured to preserve the character and the spirit of the original. Not only are the incidents narrated in the same order as in the original, but they are told in the style of the poet as far as possible. Even the similes and metaphors and figures of speech are all or mostly adopted from the original; the translator has not ventured either to adopt

Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81