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Śrī Kṛṣṇa – The Ritual of Departure
From the viewpoint of most Indian readers, Kṛṣṇa is regarded as a great personality of key importance in the Mahābhārata, but he is judged differently by some critical scholars in the West. In fact, the tricks employed by Kṛṣṇa in the Great War induced the German scholar Adolf Holtzmann (Sr.) in the 19th century to believe and propagate that the Pāṇḍavas were originally the bad people and the Kauravas the good ones. This ‘inversion theory’ which was further elaborated upon by A. Holtzmann (Jr.) has fallen into discredit since long, but it is remarkable that it could ever have come about at all.
Other Western scholars had a somewhat better opinion of the avatāra and rejected the theory of the two Holtzmanns. But they too often provide a picture of Kṛṣṇa which has little resemblance with that of the Indian tradition. Thus the German Indologist Walter Ruben believed that Kṛṣṇa’s role in the epic was non-essential. However, his colleague Alf Hiltebeitel objected sharply: “In my view it is not that Kṛṣṇa is non-essential but that Ruben has missed what is essential in these episodes.”24
The Russian Indologist V.I. Kalyanov even painted a very negative picture of Kṛṣṇa. In an essay titled On the Military Code of Honour in the Mahābhārata25 he argued that Kṛṣṇa used unfair means in order to defeat invincible Kaurava heroes like Droṇa and that therefore his action was immoral. Even though the facts and quotations given by Kalyanov cannot be doubted, we have to note that his interpretation has become too narrow by overlooking Kṛṣṇa’s spiritual dimension. Since it is his object to defend dharma in a global way, he has necessarily to devise means in order to eliminate a few very powerful Kaurava warriors, because – in spite of their individual nobility – they are on the wrong side. He does not break the military code of honour due to any lower motivation, but just to fulfill the object of his mission on earth, namely to repel forces of adharma and to reestablish those of dharma.26
It was the Indian scholar Sukthankar who defended the Indian position on the scholarly level. In his book On the Meaning of the Mahābhārata he writes:
I may add, there is to my knowledge not a single passage in the Mahābhārata which does not presuppose the divinity or the cosmic character of Śrī Kṛṣṇa; or, to put it more precisely, which does not assume that he is an Avatāra or incarnation of Viṣṇu-Nārāyaṇa, in the peculiar sense in which the word “Avatāra” is used in Indian philosophy or metaphysics.27
We believe that Sukthankar’s observations are correct, at least with reference to the first five Books of the epic which we have scrutinized closely in this respect.
Several of the following chapters will deal with the personality of Kṛṣṇa and describe his specific role in various situations and circumstances. In this present chapter his role as close and beloved friend of the Pāṇḍavas will be analyzed. We will do this by means of a verse-by-verse interpretation of the second adhyāya of the Sabhāparvan which describes in beautiful poetry Kṛṣṇa’s departure after a long stay with the Pāṇḍavas. It gives deep insight into some special features of Indian culture, some highlights of the ancient tradition. However, before we turn to this scene, we will offer a very brief survey of Kṛṣṇa in the Ādiparvan.
Kṛṣṇa in the Ādiparvan
Right at the beginning Viṣṇu is identified with Kṛṣṇa Hṛṣīkeśa, “the guru of all creatures, Hari”. Viṣṇu is the primeval puruṣa, the true, the one-syllabled brahman, everlasting, manifest and unmanifest, existent and nonexistent.28
Another early verse illustrates the relationship between Kṛṣṇa and the Pāṇḍavas through the image of a tree:
The righteous Yudhiṣṭhira is the great tree, Arjuna its crotch, Bhīmasena the branches, Mādrī’s two sons the rich blossoms and fruits, and Kṛṣṇa, brahman and the Brāhmins the root.29
The first appearance of Kṛṣṇa, the Yādava chieftain, in the text of the Critical Edition is at Draupadī’s Bridegroom Choice where the Pāṇḍavas took part disguised as Brāhmins. Only Kṛṣṇa sees through the disguise and mentions this to his brother Balarāma, who confirms this discovery with a smile.30
When Arjuna had won Draupadī through his skill in archery, the other competitors grew jealous and attacked Drupada. Arjuna and Bhīma fought a successful battle against the aggressors, but it was Kṛṣṇa’s intervention which finally brought about peace and the recognition of the Pānḍavas’ claim of Draupadī. He “restrained all the kings”, telling them that “she was won according to dharma”.31
When the marriage of Draupadī with the five Pāṇḍavas was performed, Kṛṣṇa is reported to have sent many precious gifts. Meanwhile the Kauravas grew aware of the new constellation of forces and recognized that the Pāṇḍavas were now backed by Drupada and Kṛṣṇa. Karṇa therefore proposes a surprise attack on the Pāṇḍavas before they would become too powerful to be defeated. Kṛṣṇa’s potential role as a reliable supporter of the Pāṇḍavas, prepared to make any sacrifice for bringing them back to power, is clearly perceived by him.
Another important scene with Kṛṣṇa is the abduction of Subhadrā, in which he had a leading hand (see previous chapter). The Ādiparvan ends with the burning of the Khāṇḍava forest in the course of which Kṛṣṇa and Arjuna kill numberless innocent creatures in a terrible feast of destruction at the behest of Agni. The meaning of this episode eludes us entirely, it does not appear to be genuine; probably it was added later by some author with an unknown intention, or else we are simply not able any more today to understand its significance. Only seven creatures survived the fire, among them the asura Maya who then becomes the link to the next Book, the Sabhāparvan.
Maya is the chief architect of the Dānavas, a powerful and efficient master builder who offers his services to Arjuna now for having been protected by him from the fire as well as from Kṛṣṇa’s discus. But Arjuna refers the asura to Kṛṣṇa who suggests that Maya should build a big Assembly Hall for Yudhiṣṭhira, and the asura gladly accepts this proposal. Soon after this scene Kṛṣṇa gets ready for his departure from the Pāṇḍavas, and it is this particular scene which is of special interest in this chapter.
The Ritual of Departure
uṣitvā khāṇḍavaprasthe sukhavāsaṁ janārdanaḥ /
pārthaiḥ prītisamāyuktaiḥ pūjanārho’bhipūjitaḥ //
gamanāya matiṁ cakre piturdarśanalālasah / 2.2.1
After Janārdana, duly honoured by the affectionate Pārthas, had stayed happily in the Khāṇḍava region, he felt desirous of seeing his father and therefore resolved to take leave.
Kṛṣṇa’s stay with the Pāṇḍavas was of a very happy nature. The reason is given: the Pārthas are full of affection for him. But it is more than a mere friendly relationship – the Pāṇḍavas are aware of Kṛṣṇa’s greatness and honour him as one who deserves honour abundantly (pūjanārho’bhipūjitaḥ). As relatives (cousins) they are on a par with Kṛṣṇa; in the field of wisdom and knowledge of right action they recognize his superior standing and power.
A motive is given for Kṛṣṇa’s departure which ranks higher than his love for the Pāṇḍavas at this moment: his obligation and desire to be with his father Vasudeva. All this may be regarded as a mere formality and in a way it is. But we want to draw attention to the master hand of the poet who, like a skilled diplomat conceiving the wording of a communiqué on a high-level meeting, chooses words with care so as to satisfy listeners, assuring them of the perfectly harmonious nature of Kṛṣṇa’s stay with the Pāṇḍavas.
dharmarājamathāmantrya pṛthāṁ ca pṛthulocanaḥ // 2
vavande caraṇau mūrdhnā jagadvandyaḥ pitṛṣvasuḥ /
sa tayā mūrdhnyūpāghrātaḥ pariṣvaktaśca keśavaḥ // 3
The large-eyed Kṛṣṇa bade farewell to the Dharmarāja and to Pṛthā. He who is adorable to the world, adored with his head the feet of his father’s sister. She kissed Keśava on his head and embraced him.
Kṛṣṇa wishes good-by to Yudhiṣṭhira and Kuntī. His great humility is shown: being himself worthy of worship, he makes praṇāma at the feet of his aunt.
dadarśānantaraṁ kṛṣṇo bhaginīṁ svām mahāyaśaḥ /
tāmupetya hṛṣīkeśaḥ prītyā bāṣpasamanvitaḥ // 4
arthyaṁ tathyaṁ hitaṁ vākyam laghu yuktamanuttamam /
uvāca bhagavānbhadrāṁ subhadrāṁ bhadrabhāṣiṇīm // 5
Then the illustrious Kṛṣṇa Hṛṣīkeśaḥ approached his sister affectionately, his eyes filled with tears, and the blessed Lord spoke meaningful, apt, helpful, brief, appropriate and excellent words to the gentle, gentle-spoken Subhadrā.
The poet makes ample use of the device of alliteration in all these verses, whose beauty gets lost in any translation. Note in verse 1: pārthaiḥ prītisamāyuktaiḥ and pūjanārho’bhipūjitaḥ. In verse 2: pṛthāṁ pṛthulocanaḥ … pītṛśvasuḥ and vavande jagadvandyaḥ. The climax of this beautiful sound play is reached in the last line of verse 5, which is pure music: bhagavānbhadrāṁ subhadrāṁ bhadrabhāsīṇīm.
The poetic device is used here not for the sake of itself as in the alaṁkāra type of Indian classical poetry, but as a colourful means of expressing deep and genuine emotion between an extraordinary brother and sister. Kṛṣṇa has tears in his eyes (bāṣpa-samanvitaḥ), which speaks of his psychic love for his sister. His manifold advice to her is not for the sake of advice; it is only a medium of his love, his wish to speak to her and caress her with words.
tayā svajanagāmīni śrāvito vacanāni saḥ /
saṁpūjitaścāpyasakṛcchirasā cābhivāditaḥ // 6
tāmanujñāpya vārṣṇeyaḥ pratinandya ca bhāminīm /
dadarśānantaraṁ kṛṣṇāṁ dhaumyaṁ cāpi janārdanaḥ // 7
She gave him messages for her relatives and honoured and saluted him with many bows. Then Vārṣṇeya took leave of his beautiful sister, bidding her farewell, and went to see Kṛṣṇā and Dhaumya.
In spite of the emotional atmosphere of the scene Vyāsa’s Sanskrit – it is most probably one of his original texts – remains sober and does not try to convey anything which is not really there. Thus we can go along with the poet, even bear with occasional repetition
The content of this passage: After the affectionate fare-well meeting with his beloved sister, Kṛṣṇa wishes good-by to Draupadī and Dhaumya, the family priest of the Pāṇḍavas.
vavande ca yathānyāyaṁ dhaumyaṁ puruṣasattamaḥ /
draupadīṁ sāntvayitvā ca āmantrya ca janārdanaḥ // 8
bhrātṛnabhyagamaddhīmānpārthena sahito balī /
bhrātṛbhiḥ pañcabhiḥ kṛṣṇo vṛtaḥ śakra ivāmaraiḥ // 9
Janārdana, best of men, duly saluted Dhaumya, and, speaking comforting words to Draupadī, he bade her farewell. Then the wise and mighty Kṛṣṇa, accompanied by Pārtha, went to his cousins. Surrounded by the five brothers, Kṛṣṇa stood like Śakra in the midst of the Immortals.
This chapter has been called The Ritual of Departure. It is a ritual indeed, but not a dead ceremony. The outer forms are always a living expression of some genuine inner feeling. We see an art practiced here which is part of classical Indian culture. There is a prescribed procedure, expressed through the word yathānyāyam: according to the etiquette.
Verse 9 is a first climax of the whole scene, with Kṛṣṇa, surrounded by the five Pāṇḍavas, being likened to Indra in the company of the Immortals. Through this comparison the poet gives his characters a touch of the Divine; they are like the very Gods moving on earth.
arcayāmāsa devāṁśca dvijāṁśca yadupuṁgavaḥ /
mālyajapyanamaskārairgandhairuccāvacairapi /
sa kṛtvā sarvakāryāṇi pratasthe tastuṣāṁ varaḥ // 10
svasti vācyārhato viprāndadhipātraphalākṣataiḥ /
vasu pradāya ca tataḥ pradakṣiṇamavartata // 11
The bull of the Yadus worshipped the gods and Brāhmins with garlands, mantras, bows of the head and manifold perfumes. Having finished all these rites, he, first of the steadfast, distributed to those Brāhmins deserving of worship offerings of vessels of curd, fruits and barley-corn; then he circumambulated them.
After having said farewell to those very close to him, Kṛṣṇa turns to the crowds of Brāhmins watching his departure and honours them in various ways. Finally, he makes their pradakṣiṇa, circumambulation, also a classical sacred ritual.
kāñcanaṁ rathamāsthāya tārkṣyaketananamāśugam /
gadācakrāsiśārṅgādyairāyudhaiśca samanvitam // 12
tithāvatha ca nakṣatre muhūrte ca guṇānvite /
prayayau puṇḍarīkākṣaḥ sainyasugrīvavāhanaḥ // 13
Then he ascended his swift golden chariot with the emblem of Garuḍa and furnished with mace, discus, sword, his bow śārṅga and other weapons. At an excellent moment on a lunar day, when the stellar conjunction was propitious, the lotus-eyed set out on his chariot with his horses Sainya and Sugrīva.
The ‘first round’ of the farewell ritual is finished now and Kṛṣṇa ascends his chariot which carries the emblem of Garuḍa who has traditionally been associated with Viṣṇu due to some mythological incident. Now a very particular feature of the Indian science of departure follows: Kṛṣṇa leaves at a moment which is auspicious from the astrological point of view. This is to indicate that the individual properly relates himself to the Cosmos and its functioning.
A departure signifies a new turn in the life of an individual, and the new undertaking is supposed to be fruitful if the respective person harmonizes himself with the cosmic forces with which he is in constant interaction. A spiritual genius like Kṛṣṇa does not need to consult the horoscopes but through his inner attunement he automatically chooses the right moment.
anvāruroha cāpyenaṁ premṇā rājā yudhiṣṭhiraḥ /
apāsya cāsya yantāraṁ dārukaṁ yantṛsattamam /
abhīṣūnsamprajagrāha svayaṁ kurupatistadā // 14
upāruhyārjunaścāpi cāmaravyajanam sitam /
rukmadaṇḍaṁ bṛhanmūrdhni dudhāvābhipradakṣiṇam // 15
tathaiva bhīmaseno’pi yamābhyāṁ sahito vaśī /
pṛṣṭato’nuyayau kṛṣṇamṛtvikpaurajanairvṛtaḥ // 16
From affection, King Yudhiṣṭhira ascended the chariot after him, and, moving aside Dāruka, best of charioteers, he took the reins himself. Arjuna too ascended the chariot, waving a large white cāmara with a golden handle sunwise around Kṛṣṇa’s head. The mighty Bhīmasena, with the twin brothers also followed Kṛṣṇa from behind, surrounded by the priests and citizens.
We may have expected Kṛṣṇa now to slowly gallop away waving his hand in a gesture of blessing to the crowds looking on, but there is a delay: moved by his great love for Kṛṣṇa, Yudhiṣṭhira mounts on the chariot, followed by Arjuna who waves a yak-tail fan from left to right, which is another indication of the individual’s attunement to the cosmic workings.
sa tathā bhrātṛbhiḥ sardhaṁ keśavaḥ paravīrahā /
anugamyamānaḥ śuśubhe śiṣyairiva guruḥ priyaiḥ // 17
Keśava, slayer of the enemy heroes, followed by the brothers, shone like a guru among his beloved disciples.
Another climax is reached here in the poet’s account of Kṛṣṇa’s departure: if in verse 9 he was likened to Indra surrounded by the immortals, he is now said to be like a guru amidst his beloved disciples. We have here a first anticipation of his later role in relation to the Pāṇḍavas, and particularly to Arjuna in the Gītā.
So this verse marks a real turning point and is of great importance. So far we had seen Kṛṣṇa treated as a highly respected relative by the Pāṇḍavas. When he met them at Drupada’s palace after Draupadī’s svayamvara, he touched Yudhiṣṭhira’s feet.32 This is hardly what we would expect a guru to do. We may also remember that when Kṛṣṇa had advised Arjuna to abduct Subhadrā, Yudhiṣṭhira was consulted first. But now he is gradually assuming the role of a divine guide of the Pāṇḍavas. A first turn in the new direction was taken when Arjuna asked Maya to do something for Kṛṣṇa rather than for himself, because as a quasi-disciple he could not accept any gift in the presence of Kṛṣṇa.
pārthamāmantṛya govindaḥ pariṣvajya ca pīḍitam /
yudhiṣṭhiraṁ pūjayitvā bhīmasenaṁ yamau tathā // 18
pariṣvakto bhṛśaṁ tābhyāṁ yamābhyāmabhivāḍitaḥ /
tatastaiḥ saṁvidaṁ kṛtvā yathāvanmadhusūdanaḥ // 19
nivartayitvā ca tadā pāṇḍavānsapadānugān /
svāṁ purīṁ prayayau kṛṣṇaḥ puraṁdara ivāparaḥ // 20
Govinda bade Pārtha farewell, embracing him firmly. Then he saluted Yudhiṣṭhira, Bhīmasena and the twins, and the latter embraced him strongly in farewell. Then Madhusūdana made an agreement with them, and turning them and their followers back, Kṛṣṇa proceeded towards his own city like another Puraṁdara.
The departure scene is nearing its end now. There are various loving gestures until Kṛṣṇa finally disengages himself from the Pāṇḍavas and speeds home, after having made an agreement with them on a new meeting. He is compared now to Indra on the way towards Amarāvatī.
locanairanujagmuste tamā dṛṣṭipathāttadā /
manobhiranujagmuste kṛṣṇaṁ prītisamanvayāt // 21
atṛptamanasāmeva teṣāṁ keśavadarśane /
kṣipramantardadhe śauriścakṣuṣām priyadarśanaḥ // 22
They followed Kṛṣṇa with their eyes as long as he was within sight, and then followed him in their minds with love. Even while they were still unsated of the sight of Keśava, the gracious Śauri soon disappeared from their sight.
These are masterful verses. The eyes of the Pāṇḍavas refuse as it were to lose Kṛṣṇa out of sight and in any case their loving thoughts will follow him even beyond the horizon. Somewhat listlessly the brothers return home:
akāmā iva pārthāste govindagatamānasaḥ /
nivṛtyopayayuḥ sarve svapuraṁ puruṣarṣabhāḥ /
syandanenātha kṛṣṇo’pi samaye dvārakāmagāt. / 23
Unwilling as it were the Pārthas, with their minds fixed on Govinda, turned back and those bull-like men returned to their city. Kṛṣṇa in his chariot reached Dvārakā in time.
Alf Hiltebeitel, Kṛṣṇa and the Mahābhārata (A Bibliographical Essay), Annals of the Bhandarkar Oriental Research Institute, Vol. LX (1979), 91
Published in: Aṛtadhārā, Prof. R.N. Dandekar Felicitation Volume, pp. 187-194.
