READING THE MAHABHARAT: A STUDY OF SELECT CONTEMPORARY RETELLINGS ACROSS GENRES AND MEDIA

Abstract

The practice of retelling stories is a phenomenon that has been around for a while. Mahabharat, one of the most influential Indian classical texts, has been revisited, retold, and reinterpreted since its inception. The ubiquitousness of Mahabharata retellings has been accompanied by a wealth of critical scholarship. However, significant gaps exist despite its extensive scholarship. In an attempt to fill in the gaps and to help us engage with the epic narrative better, this dissertation titled "Reading the Mahabharat: A Study of Select Contemporary Retellings Across Genres and Media" defines the act of reading the epic as dialogue, explains the nature of dialogue (Bakhtinian concept) that occurs when the epic narrative is retold as new narratives in different genres and media; and offers an account of the requisite role of readers'/viewers' active critical participation in the creation of a retelling. The thesis uses Kisari Mohan Ganguli's prose rendition of the epic The Mahabharata as the source text for reference. The primary retellings selected for the study are Parva (1994) by S.L. Bhyrappa, The Pregnant King (2008) by Devdutt Pattanaik, Epic Retold (2014), a Twitter narrative (currently known as 'X,' however, for maintaining parity with the secondary critical materials, the word 'Twitter' will be used in the present work) by Chindu Sreedharan, Sauptik: Blood and Flowers, a graphic narrative (2016) by Amruta Patil, a Television series titled Dharmakshetra first vi aired on the Epic channel (2014-15) and later on the OTT platform Netflix, and a one act play, also known as bhan, titled The Book of Night: A Moment from the Mahabharata (2008) by Sibaji Bandyopadhyay. Through an analysis of the six different retold narratives across genres and media and their act of dialoguing with the epic narrative, both inter-textual/and intra-textual, the dissertation establishes how the ancient epic converses with the present through its retellings by engaging with the contemporary concerns and issues and helping us to be better readers, and become better and ethical members in the society. The project demonstrates that Mahabharat can be studied as a potential dialogic text, as it is understood through the lens of Mikhail Bakhtin's theory of dialogism. The application of dialogic theory here isn't about strictly adhering to its principles. Instead, it is about engaging with the texts in a dialogic spirit. This involves closely reading the texts, fostering dialogues both within and between them, and, crucially, maintaining the friction and tension by not settling on a definitive interpretation. The study follows conversations between the texts, within the text, in different sections reflecting contradictions, oppositions, and contesting viewpoints. If the Introductory chapter identifies the research gap in understanding the relationship between the epic and the retellings in terms of dialogue, the second chapter provides the theoretical foundation of the work studying the dialogic relation and interaction between the epic and the retellings by introducing Bakhtin's theory of dialogism and a tradition of dialogue deeply ingrained in Indian aesthetics. The third chapter examines the fluid and contextual nature of gender identity in the epic, highlighting how its instability allows retellers to delve into the 'dialogic' selves of vii characters from the selected novels and reveal the construction of gender beyond binary roles through diverse and intersecting identities. The fourth chapter explores two distinct genres of Ashwatthama narratives engaging in dialogue within and with the epic, demonstrating how multiple voices get 'refracted' beyond authorial intentions. The fifth chapter involves the 'presentification' of the past through digital media texts, which provides a vast audience reach, demonstrating how retellings are realized through readers and initiating discussions on contemporary global issues. The concluding chapter integrates the issues and arguments highlighted throughout this study, emphasizing the importance of engaging with the past to comprehend the present and improve the future. Reading the epic and the contemporary retellings across genre and media as dialogue facilitates developing a dialogic understanding of the past and the present, which teaches us what is worth preserving and reviving and what needs correction for a better future. It is essential to realize that engaging in a dialogue with others or a text is not a one-sided experience. The 'other' does not just adapt to us; we, in turn, are also affected by the encounter with the 'other.' In this mutual exchange, our relationship with others can profoundly shape who we are. Readers do not just absorb a story; they grow and develop ethically, becoming more self-reflective in the process of reading. The ethical aspect encourages readers to build a responsible and accountable self based on their relationship with the narrative and others. Given the constant plurality of approaches and diverse engagement with the Mahabharat, the present study intends to capture a possible space for interaction and coexistence of differences. The project of reading the epic through its numerous bodies of retellings is also imperative to reveal its multiple voices with multiple possibilities to be engaged not only in the cultural or ethical universe of India but in the world.