The History of Antiquity, Vol. 4 (of 6). Duncker Max

in a great war, and kings of the race of Pandu ascended the throne of Hastinapura. If, as we have assumed, the Bharatas had previously forced the Tritsus from the Sarasvati to the Yamuna, and from the Yamuna to the upper Ganges, and from the upper Ganges further east to the Sarayu, they were now, in turn, not indeed expelled, but over-mastered, by the tribes which had followed them and settled on the Yamuna. The metropolis of the kingdom which arose out of these struggles was Hastinapura, the chief city of the Bharatas; under the rule of the race of Pandu it comprised the Bharatas and the Panchalas; in the old ritual of consecration we find the formula: "This is your king, ye Kurus, ye Panchalas."143

      The original poem no doubt took the part of the Kurus against the Pandus, of the Bharatas against the Panchalas. In some passages of the old poem, which have remained intact, Duryodhana, i. e. Bad-fighter, is called Suyodhana, i. e. Good-fighter. It is not by their bravery but by their cunning that the Pandus were victorious. The words of the dying Duryodhana: "The Pandus have fought with subtlety and shame, and by shame have obtained the victory," are an invention made from this point of view. The vengeance which follows close after the victory of the Pandus, the massacre of their army in the following night, through which the life of the dying Duryodhana is prolonged; the fulfilment of the curse which the mother of Duryodhana pronounces upon Krishna and the Yadavas – at a later time the tribes of the Yadavas disappeared, at any rate in these regions – all enable us to detect the original form and object of the poem. It was the lament over the fall of the famous race of the Kurus, which had founded the oldest kingdom in India, over the death of Bhishma and his hundred sons, and the narration of the vengeance which overtook the crime of Krishna and the Pandus.

      In any case certain traits which reappear in the Epic poetry of the Greeks and the Germans – the contest with the bow for Draupadi, the death of the young hero of half-divine descent by an arrow shot in secret, the fall of an ancient hero with his hundred sons, the destruction even of the victors in the great battle – are evidence that old Indo-Germanic conceptions must have formed the basis of the original poem. Even in the form in which we now have them they remind us of the grand, mighty, rude style of the oldest Epic poetry. In other respects also traits of antiquity are not wanting – the marriage of five brothers with one wife, the hazard of goods, kingdom, wife, and even personal liberty, on a single throw of the dice, which is an outcome of the passionate nature already known to us through the songs of the Vedas. In the songs of the conquests and struggles on the Yamuna and Ganges, sung by the minstrels to the princes and nobles of these new states, these elements became amalgamated with the praises of the deeds achieved by their ancestors at their first foundation. This is proved by the tone of the poem, which penetrates even the description of the great war. It was only before princes who made war and battle their noblest occupation, before assemblies of a warlike nobility, and in the spirit of such circles, that songs could be recited, telling of the contests in all knightly accomplishments – the wooing of the king's daughter by the bow, the choice of a husband by the princess, who gives her hand to the noblest knight. Only there could such lively and detailed descriptions of single contests and battles be given, and the laws of knightly honour and warfare be extolled with such enthusiasm. These must have penetrated deeply into the minds of the hearers, when the decision in the great battle could be brought about by a breach of these laws, and the destruction of the Yadavas accounted for by a quarrel arising out of a question of this kind. Even the law-book which bears the name of Manu places great value on the laws of honourable contest.144 Hence we may with certainty assume that the songs of the princes who conquered the land on the Yamuna and the Ganges, were sung at the courts of their descendants, at the time when the latter, surrounded by an armed nobility, ruled on the Ganges. There, after the tumult of the first period of the settlement had subsided, these songs of the marvels and achievements of ancient heroes, coloured with mythical conceptions, were united into a great poem, the original Epos of the great war, and in this the living heroic song came to an end. In the German Epos, the Nibelungen, we find a foundation of mythical elements, together with historical reminiscences of the wars of Dietrich of Bern, overgrown by the conflicts and destruction of the Burgundians.

      At a much later time the Epos of the great war passed from the tradition of the minstrels into the hands of the priests, by whom it was recorded and revised from a priestly point of view. Descendants of the Pandus who had overthrown the ancient famous race of the Kurus, and had gained in their place the kingdom of Hastinapura, are said to have remained on the throne for 30 generations in that city, and afterwards at Kauçambi. From other sources we can establish the fact, that at least in the sixth century B.C. the sovereignty among the Kuru-Panchalas belonged to kings who traced their descent from Pandu; and even in the fourth century we have mention of families of Nakula, and Sahadeva, and among the Eastern Bharatas, of descendants of Yudhishthira and Arjuna.145 Hence the rulers of the tribe of Pandu must have thought it of much importance not to appear as evil-doers and rebels, and to invent some justification of their attack on the Kurus, and the throne of Hastinapura. In this way they would appear both to the Panchalas and the Bharatas as legitimate princes sprung from noble ancestors, and would share wherever possible in the ancient glory of the kings of the Bharatas, who were sprung from the race of Kuru. This end it was attempted to gain by revision and interpolation; and the views of the priests, which were of later origin, have no doubt supported the subsequent justification of the usurpation of the race of the Pandus. The priestly order might think it desirable to win the favour of the Pandu-kings of Kauçambi. Of this they were secure if they united the ancestors of the race with the family of the Kurus, while at the same time they brought the kings of the Bharatas and Panchalas into connection with priestly views of life by representing their ancestors as patterns of piety, virtue, and respect for priests. In the old poem, Bhishma, the descendant of Kuru on the throne of the Bharatas, perished, at an advanced age, with his son Suyodhana, and his ninety-nine brothers, in stout conflict against the Pandus, who were at the head of the Panchalas; but his fall was due to the craft of the latter. On the other hand, the revision maintains that king Çantanu was the last legitimate Kuru; that his son Bhishma renounced the throne, marriage, and children; that Çantanu's younger son died childless; and represents the Dritarashtras and the Pandus as his illegitimate descendants. Thus the Pandus are brought into the race of Kuru, and the claims of the descendants of Dhritarashtra and Pandu are placed on an equality. It was an old custom among the Indians, not wholly removed by the law-book of the priests, even in the later form of the regulation, that if a father remained without a son his brother or some other relation might raise up a son to him by his wife or widow.146 According to the poem, the wife of Çantanu charged her nearest relation, her natural son, to raise up children to the two childless widows of her son born in marriage. Agreeably to the tendency of the revision, this son is a very sacred and wise person; and thus it is proved that it was within the power of the priests to summon into life the most famous royal families. But great as the freedom of the revision is, it does not venture to deny the right of birth of the Kurus. Dhritarashtra is the older, Pandu is the younger, of the two sons. In order to clear the younger brother, Dhritarashtra is afflicted with blindness, because his mother could not endure the sight of the great Brahman. Even the son of Dhritarashtra, Duryodhana, is allowed to have the right of birth; it is only maintained that Yudhishthira, Pandu's elder son, was born on the same day. That this insertion of the Pandus into the race of the Kurus in the Epic poem was completed in the fourth century B.C. we can prove.147 The revision then represents Dhritarashtra as voluntarily surrendering half his kingdom to the sons of Pandu, and this is a great help towards their legitimacy. When the Pandus are resolved on war, Krishna removes Yudhishthira's scruples by asserting "that even in times gone by it has not always been the eldest son who has sat on the throne of Hastinapura." These traits are all tolerably transparent. How weak the position of the Pandus was in the legend, how little could be told of their ancestors and of Pandu himself, is shown in the poem by the fact that the want of ancestors can only be supplemented by inserting the family in the race of the Kurus, and that no definite achievement of Pandu is mentioned. He is allowed to die early, and his sons grow up in the forest. So transparent is the veil thrown over the fact that an unknown family rose to be the leaders of the Panchalas. The insertion of Dhritarashtra is caused by the insertion

143

A. Weber, "Ind. Literaturgesch." s. 1262.

144

Manu, 7, 90, 93. Yajnavalkya, 1, 323-325.

145

Panini in M. Müller, "Hist. of anc. Sanskrit Literature," p. 44, n. 2.

146

Manu, 9, 59.

147

M. Müller, loc. cit.