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foreword

of style, I would suggest, is particularly suited to conveying the philosophy it does convey in this case, that is, Advaita Vedanta. This is so because, looked at closely, Advaita Vedanta contains a deep irony: knowledge, or pure consciousness, is itself the locus of ignorance, and yet ignorance seeks to conceal just that which harbors and manifests it. Pure knowledge does not destroy, but rather manifests ignorance. Hence, in Krishna·mishra’s play, ignorance and knowledge are cousins, as are the Kauravas and the Pandavas of the great epic. The infinite pure Self chooses to be ensnared by illusion, and then does not strive to free itself. Those who act to free the Self are characters who are themselves the kin of illusion. In fine, they are all bound together, and our initial dichotomous, opposition thinking fails.

What a wonderful portrayal of the inner history of the spirit.

J.N. Mohanty

Philadelphia

12 September, 2008

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