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Krishna’sSecretThisebookeditionhasbeenextractedfrom7SecretsofVishnuFirstpublishedbywestlandltd,2011

Copyright©DevduttPattanaik,2011

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Thisebookeditionfirstpublishedbywestlandpublicationsltd,2017

Copyright©DevduttPattanaik,2017

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CONTENTS

KRISHNA’SSECRET

KRISHNA’SSECRET

Knowthethoughtbehindtheaction

Tanjore-styleprintshowingtheKrishnaofBhagavata

T he story of Krishna is spread across two epics: theBhagavata and theMahabharata.Bhagavata refers to Krishna as the flute-playing, playful, lovable,

mischievous, romantic cowherd who loves butter. Mahabharata refers toKrishna as the conch-blowing city-builder, warrior, leader, philosopher,statesman and charioteer covered with the grime of war. Together these twoKrishnascreatethepurna-avatar,themostwholesomemanifestationofGod.

ButKrishnaisanunusualGod.Hechallengesallconventionalnotionsofdivinityandappropriatesocialconduct.Hisnameliterallytranslatesas‘black’,challenging the traditional Indian discomfort with the dark complexion. He isvisualisedaseithercowherdorcharioteer,neveraspriestorking, adeliberateassociationwiththelowerstrataofsociety.Hismotherisnothisrealmother,hisbeloved isnothiswife,and thewomenhe rescuesareneitherhis subjectsnormembersofhisfamily.Hislovemakingisnotreallylovemaking;hiswarisnotreallywar.Thereisalwaysmorethanmeetstheeye.Andso,onlyKrishna,ofallthe avatars, sports a smile, amischievous,meaningful smile. There is alwaysmorethanmeetstheeye,whenKrishnaisaround.

WHILERAMISCALLEDMARYADAPurushottam,hewhoupholdsrulesofsocietyatanycost,KrishnaiscalledLeelaPurushottam,hewhoenjoysthegameoflife.UnlikeRam,whoisseriousandsereneandevokesrespect,Krishnaisadorableandrakish,andevokesaffection.Ram’sstorytakesplaceinthesecondquarterof the world, the Treta yuga, when the bull of dharma stands on three legs.Krishna’s story takes place in a later, third quarter of theworld, theDvaparayuga,whenthebullofdharmastandsontwolegs.Krishna’sworldisthuscloserto the world we live in, the final quarter or Kali yuga, and shares the hazymorality and ethicswe encounter today. In thisworld, the concept of dharmabecomesevenmoredifficulttoexpressandinstitute.AndthisismostevidentinthestoryofYayati.

AprintofParthasarathyofChennai

Yayati, an ancestor ofKrishna, is cursed by his father-in-law to becomeoldandimpotentwhenheisdiscoveredhavingamistress.Yayatibegshissons

tosufferthecurseonhisbehalfsothathecanretainhisyouth.Yadu,theeldestson,refusestodosobecausehefeelshisfathershouldrespectthemarchoftimeand not feed on the youth of his children. Puru, the youngest son, however,agrees to accept his father’s old age. Puru’s sacrificemakes Yayati so happythat,yearslater,whenhehashadhisfillofyouth,hedeclaresthattheyoungerPuruwillbehisheirandnottheelderYadu.Further,hecursesYaduthatnoneofhischildrenorhischildren’schildrenwillbeentitledtowearthecrown.

Krishna,beingYadu’sdescendent,isthereforeneverking.Kingshippasseson to Puru’s descendents, the Pandavas and Kauravas, even though time andagaintheydemonstratetheirunworthinesstowearthecrown.

WhatseemsagoodthinginRam’syugabecomesabadthinginKrishna’syuga.Ram’sunquestioningobedienceofhisfathertransformshimintoGod.ButPuru’s unquestioning obedience results in the collapse of society. Dashratharequests Ram’s obedience so that he can uphold his word. Yayati, however,demandstheobedienceofhischildrenforhisownpleasure.Yayatiexploitstherule for his own benefit whereas Dashratha enforces the rule so that royalintegrity is never questioned. The rule (obey the father) evokes dharma inDashratha’scase,butnotsoinYayati’s.

PrintofDevakiKrishnaenshrinedatMarcela,Goa

Yayati’sconduct results ina societywhere the letterof the lawbecomesmoreimportantthanthespiritofthelaw.ThisistheworldofKrishna,aworld

wherewhatmattersmorethanthedeedisthethoughtbehindthedeed.

THESTORYOFKRISHNABEGINSinMathura,thecityoftheYadavas.ItisforetoldthattheeighthchildofDevakiwillkillherelderbrother,Kamsa.Consumedbyfear,KamsakillsallofDevaki’schildrenassoonastheyareborn.

ThenightDevakidelivershereighthson,herhusbandVasudevatakeshimacrosstheriverYamunatoGokul.There,heexchangeshissonforthedaughterof Yashoda and cowherd-chief Nanda, who is born the same night. YashodawakesuptofindKrishnainherarms.Sheassumesthisishersonandraiseshimasacowherd.Kamsa,meanwhile,triestokillthegirlhefindsinDevaki’sarmsbutthechildslipsoutofhisgrasp,risesintotheair, transformsintoagoddessandinformshimthathiskillerissafe.Kamsafumesinfrustrationasherealisesallhisattemptstochangehisdestinyhavecometonaught.

Krishna, as a consequence of his father’s actions, ends up with twomothers:DevakiwhogivesbirthtohimandYashodawhoraiseshim.Devakiisawomanofnoblerank.Yashodaisacommonmilkmaid.Devakirepresentsallthequalitiesoneisbornwith.Yashodarepresentsallthequalitiesoneacquiresin life.ThusKrishna’sdivinity, rooted inDevaki’sbloodandYashoda’smilk,acknowledgesbothnatureandnurture.

Weareallacombinationofwhatwearebornwithaswellaswhatweareraised to be. Our natural disposition is known as varna while the culturalindoctrination is jati. Krishna is by varna a nobleman but by jati a cowherd.Thoughnobleman,hecanneverbeking.Thoughcowherd,hecanalwayslead.

MysorepaintingshowingKrishnastealingbutter

AsouthIndiantemplewallcarvingshowingKrishnastealingclothes

Ourbehaviourtowardsothersisbasedonwhatweseeandhowweprocessourobservation.Butnotall thingscanbeseen.Jaticanbeseenbutnotvarna.Onecanseebehaviourbutonehasnoaccess tobeliefs.Amancandressasacowherdandtalklikeacowherd,buthemayatheartbeaprince.Wewillneverknowunlessweopenoureyestothispossibility.

INKRISHNA’SNARRATIVES,BUTTER,CHURNEDoutofmilk, is thesymbolof love.Themilkmaidsofhisvillagehoard thebutter inpotshunghigh fromceilings,outofeveryone’sreach.Theyareonlyforsale.Krishnaprotestsanddemandsitsfree distribution. And so, with a naughty glint in his eye, he climbs on theshouldersofhisfriends,reachesuptothepotsandbreaksthemwithglee,lettingthebutterofloveflowout.

AsKrishna grows up, themetaphor of love changes. Pots are no longerbroken. Instead clothes are stolen. An embarrassing situation for the gopisbathingintheYamunaandeveryonehearingthestoryuntilwerealisethatinthelanguage of symbols, clothes represent our public face. Krishna notices thesensitiveheartshidingbehindeachandeverypublicface.Thisheartissensitive,yearningtogiveaffectionandreceiveit.

Heartsresistandtonguescomplain,‘Don’tstealourbutter,Krishna.Don’tstealourclothes,Krishna.’Noonewantstobefreewithlove.Noonewantstoexpose the vulnerable heart. Everyone marches into Yashoda’s house,demandingthatKrishnaberestrained.

MiniaturepaintingshowingtheMaha-raas

YashodatriestostopKrishnabutfails.Shebindshimtoadrum,lockshiminside the house, but Krishna remains the relentless makkhan-chor and chitt-

chor, he-who-steals-butter and he-who-steals-hearts. Until all defences breakdown,until therearenopots,noclothes,no stinginesswithaffection,onlyanopeninvitationtoaheartfullofbutterylove.

WHENTHEHEART ISOPENEDup,when loveflows into itandfromit,asenseofsecurityprevails.Withsecuritycomesfreedom.Thereisnoneedtopretend.Wecanbeourselves.Thereisnodesiretoforceourwillsonanyone.Weacceptandembraceeveryone,weincludepeople,weallowthemtobethemselves,becauseweareacceptedandembracedbyGod.Theresult isMaha-raas in the flowerymeadowonthebanksoftheYamuna,knownasMadhuvan.

TheMaha-raas, whereKrishna plays the flute surrounded by a circle ofdancing milkmaids, is a symbolic representation of absolute spontaneity. NoformalrelationshipdictatesKrishna’saffectionforthemilkmaids.Unfetteredbysocial restriction, it is created by emotions that are simple, innocent, with nounderlying motive. That is why it takes the form of a circle, the mostspontaneousofnaturalshapes.BetweenGodinthecentreandhisdevoteesinthecircumferenceonlyaradiusofmutualunconditionalaffectionprevails.

SolongasthemilkmaidsloveKrishnaunconditionallywithoutfetters,hemultiplies himself and dances with each one of them, making each one feelcompletely and fully loved. But when they become possessive and refuse toshare him with others, Krishna disappears and fills the women with despair.Whenrealisationdawnsandtheybegforgiveness,KrishnareturnstoMadhuvantodancethedanceoflove.

KeralapaintingofKrishnatamingtheheron

MysorepaintingofKrishnakillingPutana

OrissapaintingofKrishnasubduingtheserpentKaliyaintheriver

CalendarartshowingKrishnaoverpoweringKamsa

TheMaha-raastakesplaceoutsidethevillage,intheforest,atnight,awayfromfamiliarsurroundings.Yetthewomenfeelsafe.Theyareunthreatenedbythe law of the jungle. They have faith inKrishna and no fear.WhenKrishnaplays the flute in themiddle of the jungle, love—not force—prevails.Theweakest,themostunfit,arenotafraid.Theycansing,danceandthriveinjoyousabandon.

BUTKRISHNA’SABODE ISNOT the jungle.Firsthe lives in thevillageofGokul,and later his parents migrate to Vrindavan, as Gokul becomes increasinglyunsafe. These villages are domesticated spaces. Domestication of the landinvolves violence, the forcible removal or suppression of wild forces thatthreatenthesettlement.

Krishnaisthreatenedseveraltimesinhischildhood.Heisthreatenedbyawet-nurse,Putana,whocarriespoisoninherbreasts.Heisthreatenedbynaturalforces:awhirlwind,aforestfireandtorrentialrain.Heisthreatenedbyanimals:awildhorse,anerrantcalf,aferociousbull,apython,acraneandadonkey.Heis even threatened by cartwheels rolling down the street. As Krishna defendshimselfandprotectshisvillagefromthesevariousthreats,hebecomesviolent.The demons are killed or driven away.Thewild beasts are subdued and theirspirit isbrokenastheyaretamed.Theforestfireisswallowedandamountainraisedtoprotectthevillagefromthewettorrentialdownpour.

AprintofRanchhodjiKrishnaenshrinedinDwarka

ThusKrishnaacknowledgestheviolencethatisimplicitinhumansurvival.Morethantheactofviolence,whatmattersisthethoughtbehindtheviolence.

Thedemonsseek tohurtKrishnabecausehisexistence threatensKamsa; theirviolence is rooted in Kamsa’s fear and his refusal to accept his fate. Suchviolenceisadharma.Krishna’sviolenceisdefensive,rootedinthehumanneedtosurviveandthrive;hedoesnotwanttohurtorexploitanyone.Hisviolenceisthereforedharma.

WHEN KAMSA HEARS OF THIS remarkable cowherd in Vrindavan who killsdemonsandtameswildbeastsandholdsmountainsupwithhislittlefinger,heisconvincedthat this ishis longlostnephew,hisnemesis.Determinedtochangehisfateandintentonkillinghim,heinvitesKrishnatoawrestlingmatchinhiscityofMathura,andsendsaroyalchariottofetchhim.

Butthingsdonotgoasplanned.ThecharismaticladnotonlyoverpowersthemightywrestlersofMathura,healsokillstheroyalelephant,breakstheroyalbow and finally attacks and kills the wicked king, to the delight of all theYadavaswhohavegrowntiredofKamsa’sexcesses.

The killing of Kamsa is unique because it is the only story in Hindumythology where a father-figure is killed. Unlike Ram who submits toDashratha, and Yadu who submits to Yayati, Krishna refuses to submit toKamsa.Thistalemarksashiftinthinkingwheretheyoungergenerationrefusestosufferthetyrannyoftheoldergeneration.ThismakesKrishnaaradicalherointheHinduspirituallandscape.

When the royal chariot carrying Krishna rolled out of Vrindavan forMathura,themilkmaidshadfearedthatKrishnawouldneverreturn.Krishnahadassuredthemthathewould,assoonasthewrestlingmatchwasover.ButafterthekillingofKamsa,Krishna’strueidentityisrevealed.HeisDevaki’sson,notYashoda’s.HeisaYadavanobleman,notacommoncowherd.Destinyhasotherplansforhimandhemustsubmittoit.Hecannotreturntothelandofmilkandbutterandcowsandmilkmaids,thelandofhispleasure.Histrystwithkingshasbegun.

KeralamuralofKrishnagettingmarried

MysorepaintingofKrishnawithmanywives

Kamsa’s father-in-law, Jarasandha, attacks the cityofMathura to avengeKamsa’sdeathandburnsittotheground.Ratherthanfighttothedeath,KrishnawithdrawsfromthebattlefieldandtakestheYadavaswestwardstothesafetyofthe island-city of Dwarka, far from Jarasandha’s influence. This display ofdiscretion over valour is uncharacteristic ofwarriors and once again positionsKrishna as an unconventional hero, onewho accepts the inglorious epithet ofRan-chor-rai, the warrior who withdrew from battle. Krishna lives to fightanotherday.

AMONGST ALL THE MILKMAIDS OF Vrindavan, there is one who is identified asbeing closest toKrishna.Her name isRadha.Radha is said to be thewife ofYashoda’s brother and she is older thanKrishna. Theirs thus is a relationshipthat transcends custom and law. In their pure love, unbound by expectations,unanchoredbyconventions,thereismusic.ItinspiresKrishnatoplaytheflute.

But when Krishna leaves Vrindavan, he enters a world of customs andlaws,wherenorelationshipispure,whereeverythingisfetteredbyexpectations.

Themusicstops.Hegivesuphis fluteand instead takesup theconch-shellofwarriors.Hegoesaboutmarryingwomen—notforlove,butoutofasenseofduty.

CalendarartshowingthefivePandavasandtheircommonwife,Draupadi

HeelopeswithandmarriesRukmini,princessofVidarbha,aftershebegshim to saveher froma lovelessmarriage she is being forced into.HemarriesSatyabhama,whoisgiventohimasatokenofgratitude,whenheidentifiesthekiller of her uncle and recovers a very precious jewel, the Syamantaka,belonging to her family.He ends upwith eight principalwives and later gets16,100juniorwives,womenwhoseekrefugewithhimafterhekillsNaraka,thedemon-kingwhoheldthemcaptiveinhisharem.

Krishna isagoodhusband toall thesewomenandagood father to theirchildren. He multiplies himself several fold so that he can give each wifeindividual attentionandnowife feels abandonedor excluded.Butnoneof thewivesseesthepassioninhiseyesthatisreservedforRadha,nordotheydancearoundhimasthemilkmaidsdidintheforest.TherelationshiphereismuchlikeRam’s relationshipwithSita, formal,dictatedbycustom,basedon respectnotpassion.

KRISHNADOESNOTRECEIVELOVEfromhismaternaluncle,Kamsa.Butheensuresthe same is not the fate of the Pandavas, his cousins. Theirmaternal uncle isKrishna’sfather,Vasudev.

Krishnafindshisaunt,Kunti,andhersonsinabjectpoverty,havingbeendeniedtheirinheritancebytheirfather’sbrother,theblindDhritarasthraandhishundred sons, theKauravas. The only thing the five Pandavas have going forthemisthattheyshareacommonwife,Draupadi,princessofPanchala,whoisnoordinarywoman,butLakshmi.

WhenVishnuisParashurama,Lakshmitakestheformofhisfather’scow.Inotherwords,sheishismother,providinghimnutrition.WhenVishnuisRam,Lakshmi takes the formofSita,his faithfulwife,whostandsbyhissideatalltimes.WhenVishnu isKrishna, Lakshmi takes the form ofDraupadi, not hismotherorhiswife,butadistantrelative,barelyconnectedbybloodormarriage.DraupadicaresforKrishnaasRadhadoes,withoutexpectations.AndthatiswhyKrishnaalwayswatchesoverher,eventhoughheisnotobligedto.

ModernpaintingshowingKrishnareplacingDraupadi’sclothesastheKauravastrytodisrobeherTheblindking.Thesilentelders.

With Draupadi as their wife and Krishna as their friend, the Pandavasdemand from their uncle their half of the family inheritance. After muchdeliberation, they are given the forest of Khandavaprastha. With the help of

Krishna,theytransformthisforestintotheprosperouskingdomofIndraprastha.WithKrishnabehind them, thePandavas turn into a lethal force.Bhima,

themightiest Pandava, kills Jarasandha, destroyer ofMathura, in a duel. AndYudhishtira, the eldestPandava, earns the right to declare himself a sovereignking.

Unfortunately, success goes to the head of the Pandavas. And whileKrishna is away, they accept an invitation from the Kauravas to a gamblingmatch.Theretheygambleawayeverything—notjustgoldandcows,butalsotheirnewfoundkingdom,theirownlibertyandeventheirwife.

Thisgamblingmatchisanindicatorofthecollapseofdharmaforitshowskings treating culture as property. They have forgotten why dharma wasinstituted and kingdoms established in the first place: to create extramaterialresourcessothatmancanlookbeyondsurvivalandlookformeaning.

ThatKrishna is not by their sidewhen thePandavas are gambling awayeverything indicates the lack of spiritual awareness. They become like DevaswholoseLakshmi.

Having managed to wrench away from the Pandavas every thing theypossess, theKauravas, likeAsuras, are consumed bymegalomania. Instead ofprotectingthehelpless,askingsaresupposedto,theyexploitthesituation,likeRakshasas.

MughalminiatureshowingKrishnanegotiatingpeacewiththeKauravas

Draupadi, gambled away by her five husbands, now aKaurava slave, isdraggedbyher hair, brought to the gamblinghall anddisrobed in public. She

demandsjustice,appealstoclemency,butnoonecomestoherrescue.Everyonehides behind the letter of the law. The spirit of dharma is totally forgotten asDraupadiscreamsinhorrorandraisesherarmsinutterhelplessness.

ThisiswhenKrishnarevealshisdivinity.Miraculously,bendingspaceandtime,KrishnaensuresthateverycloththatisremovedfromDraupadi’sbodyisreplaced by another cloth. This is Vishnu acting as Govinda, the cowherd,protecting the earth-cowwho is being abused by her so-called guardians, thekings.Hepromises to rid the earthof suchunrighteouskings.Hepromises towashhertearswiththeirblood.

A PACT IS REACHED. THE Pandavas and their wife will live in forest exile fortwelve years followed by a year incognito. If in the final year they escapeidentificationthentheKauravaspromisetorestoretothePandavasallthattheygambledaway.

‘Whycanwenotfightandtakebackwhatisoursrightaway?Whyshouldwe suffer thirteen years of humiliating exile?’ demand the Pandavas. To thisKrishnasays, ‘Becauseyouhavegivenyourword.Andbecauseonly thiswaywillyoubecleansedofthecrimeofgamblingyourkingdomaway.’

For thirteen years, the Pandavas suffer the exile. During this time, theirchildrenlivewithKrishna.ItisduringsuchtimesofcrisisthatSaraswatireturnsto the Pandavas. Each brother admits their flaws and faults and emerges astrongerman.Theymeetsagesandlearnwhatthepointofkingshipis,whatthepointofmaterialsecurityisandthereasononemustaspireforspiritualgrowth.Itisduringtheexile,especiallythefinalyearspentlivingasservantsinthecourtofKingVirata,thatthePandavasmakethemselvesworthyofkingship.

ModernpaintingshowingArjunabeforethewar

MysorepaintingshowingArjunaduringthewar

After thirteen years of exile, the Pandavas emerge cleansed but theKauravas remaincorruptasever, refusing tokeep theirword, refusing toevencompromise.Krishnasays,‘Forthesakeofpeaceatleastgiveyourcousinsfivevillages.’ButDuryodhana,theeldestoftheKauravas,refusestopartwithevenaneedlepointof land. It is then thatKrishnaencourages thePandavas todeclarewarontheKauravas.

This war is not for property. This war is about dharma. And dharma isaboutoutgrowingtheanimalinstinctofterritorialityanddiscoveringthehumanability to share and care.TheKauravas refuse to share theirwealthwith theirown brothers. They refuse to keep their word and use force to usurp otherpeople’swealth.Theearthcannotbeburdenedbysuchkings.Theyhavetobekilled.

LIKE THEMAHA-RAAS, THEWAR at Kurukshetra is not what it seems. Both areparadoxes.Thesexualityoftheformerisnotaboutsexandtheviolenceofthelatter isnotaboutviolence.Beneath theunabashedclandestinesexualityof theMaha-raasistheabsenceofdesireforanyphysicalconquest;itisaboutperfectloveandabsolutesecuritythatallowsmarriedwomentodanceandsingallnightin the forest with a divinely handsome boy. Likewise, the bloodshed atKurukshetraisnotaboutpropertyorvengeance;it isaboutrestoringhumanity,outgrowinganimalinstincts,anddiscoveringthedivine.

TemplewallcarvingsfromPattadakalandHalebidinKarnataka,showingscenesfromthewaratKurukshetra

Krishnadoesnotfightinthiswar.Heservesonlyascharioteerandguide.

Hecanonlyencourage;theactionislefttothePandavas.Itistheirbattle,theiraction,theirdecision.Allhedoes,beforethewarstarts, istoremindthemthatthe war is not about property or vengeance. It is about restoring dharma anddharma is about sharing; about giving, not taking. The war is not aboutconqueringmaterial reality; that is adelusion formaterial realitycanneverbeconquered. It is about realising spiritual reality through material reality. It isaboutquestioningtheverynotionsofpropertyandidentifyingwherefromcomegreed,envy, rageandhate. It isabout realising that ineveryhumanbeing isafrightenedbeast,seekingsurvivalandsignificance,andknowingverywellthathumans canoutgrow this beast as they empathisewithothers.This processofoutgrowing the beast is the process of discovering God. This discourse ofKrishnabeforethewariscalledtheBhagavadGita,songofGod.

TheKauravaforcesarefirstledbythegrandpatriarchBhishmawhoislikea father to thePandavas.Krishna encourages his killing becauseBhishma hasabandonedashrama-dharma.LikeYayati’sson,Puru,heindulgesthelustofhisfather,Shantanu,whenhedecidestogiveupsexsothathisoldfathercanmarrythewoman he loves. Though nevermarried, he lives as a householder takingcareofhisnephewsandhisgrandnephews.Evenwhen thegrandnephews, thePandavasandKauravas,areoldenoughtotakecharge,inanoverprotectivezeal,herefusestogracefullywithdrawandcontinuestoparticipateinworldlyaffairs.

WhenitemergesthatkillingBhishmaisimpossiblesincehehasthepowertochoosethetimeofhisdeath,KrishnaencouragesthePandavaArjunatoshootahundredarrowsandpintheoldmantothegroundandimmobilisehim.ThusKrishnaforciblyremovestheincorrigibleBhishmafromthearenaofsociety.

KeralamuralshowingParashurama,thewarrior-priestincarnationofVishnu

AfterBhishma, theKauravasare ledby their teacher,Drona,whoisalsoteachertothePandavas.KrishnaencouragesDrona’skillingbecauseDronahas

abandonedvarna-dharma.Thoughborninafamilyofpriests,hefunctionsasawarriorandevencrownshissonkingofakingdomcreatedbylayingclaimtoonehalfofDraupada’sland.Asteacher,heteacheshisstudentseverythingaboutwar and nothing about peace. He teaches his students about taking propertyrather thansharingproperty.Heteaches themeverythingaboutmaterial realityandnothingaboutspiritualreality.

Andso,KrishnaencouragesthePandavaYudhishtiratotellawhitelieanddeclarethatAshwatthamaisdead.‘YouwillrefertoAshwatthama,theelephant,but he will assume it is Ashwatthama, his son. Heartbroken, he will stopfighting, and when he stops fighting,’ says Krishna, ‘Draupadi’s brother,Dhristadhyumna, can sever his head from his body as he severedDraupada’skingdomofPanchala.’

AfterDrona,Karnaisraisedtothepositionofcommander.BothKarnaandKrishna know that Karna is the child of Kunti, born before her marriage toPandu.HeisthereforetheelderbrotherofthePandavas,Krishna’seldestcousin,whowasraisedamongstcharioteers.

Karna manages to learn archery from Parashurama and becomes arenownedarcher in theKauravacourt.Draupadi refused to lethimcontest forher hand in marriage because of his association with charioteers, and thePandavasrevilehimconstantlybecauseofhislowsocialstatus,butDuryodhanatreats him like a prince. Draupadi’s action costs her dearly. She rejects acharioteer only to end up marrying five men who gamble her away.Duryodhana’s affection costs Karna dearly; he is forced to choose between afriendanddharma.Karnachooseshisfriend.

PhotographsofKathakaliperformances

AndsoGodturnsagainsthim.Intheheatofbattlehischariotwheelgetsstuckintheground.Ashejumpsdowntoreleasethewheel,KrishnaencouragesArjuna to shoot the unarmed helpless Karna in his back. Arjuna protests butKrishnainsists.AmanwhoallowedthehelplessDraupaditobeabused,amanwho chose friendship over dharma, has no right to claim protection underdharma.

Bhishma,Drona andKarna are all students of Parashurama.Each one istaughtwarfaretoupholddharma.ButeachoneremainssilentwhenDraupadiisbeingdisrobed inpublic.Eachoneof themjustifies,however regretfully, theirsupport of theKauravas overPandavas.Ultimately, they focus on rules ratherthanthespiritofdharma.Ultimately,theyfocusontheirownhelplessnessratherthan the consequences of their actions on society at large. That is why, asKrishna,Vishnuengineersthekillingofhisownstudents.

KRISHNA SILENTLY WITNESSES THE KILLING of each and every Kaurava by thePandava Bhima. He watches as Bhima drinks the blood of Dusshasana,Duryodhana’s brother who had disrobed Draupadi. He watches Bhima washDraupadi’s hair, untied during that horrific incident, with Dusshasana’s bloodandtieitwithDusshasana’sentrails.Thusavilevowtakenthirteenyearsagointhegamblinghallisfulfilled.

Krishnaenshrinedin(clockwise)Nathdvara,Rajasthan;Guruvayoor,Kerala;Pandharpur,Maharashtra;andUdupi,Karnataka

When it becomes difficult to kill Duryodhana, Krishna encourages the

breakingof awar-rule: never strike the enemybelow thewaist.Bhima strikesDuryodhanabelowthewaistandbreakshisthighs.

With thehundredthKauravakilled, thePandavasaredeclaredvictorious.TheyarenowmastersnotonlyofIndraprastha,thekingdomtheybuilt,butalsoofHastinapur,thekingdomoftheirancestorsthattheyshouldhaveinherited.

Butvictorycomesataprice.Followingtheeighteen-daywar,Drona’sson,Ashwatthama, attacks thePandavacampatnight andkills the fivechildrenofDraupadi,mistakingthemtobethePandavas.AsGod,Krishnaknewthiswouldhappen but he does not stop it, perhaps to remind the Pandavas of theconsequencesofanywar,evenonefoughtfordharma.

And so, in the end, Krishna has to console two women: Gandhari, themotheroftheKauravas,andDraupadi,thewifeofthePandavas.Bothhavelosttheirchildren.

GandharicursesKrishnaandhisfamily.Krishnaletsher.Inthatfitofrage,allthebitternessinGandhari’sheartgushesoutleavingbehindasoulonceagainpure for love.Gandhari thenweeps uncontrollably for her imperfect children.Krishnaholdshertight,feelingherpain.

Krishna also feels Draupadi’s pain. The battle which avenges herhumiliation also claims all five of her children. Draupadi learns that bothvengeanceandjusticecomeataprice.Krishnaaskshertoforgiveandletgo.Itisdifficult.Heholdsherinhisarmsandgivesherstrength.Lifeisdifficultandpeopleare imperfect.Unable tocopewith thevagariesof thisworld,everyonemakesmistakes.Trueloveistheabilitytolovepeopledespitetheirmistakes.

RajagopalswamyfromTamilNadu,Nayakaperiod

IN THE FINAL CHAPTER OF theMahabharata, Yudhishtira is indignant when hefindstheKauravasinheaven.‘Howcanthey—thecauseofsomuchsuffering

—begivenaplaceinheaven?’Krishnaretorts,‘Youkilledtheminbattleandruledtheirlandsandstillyouhatethem?Youclaimtohaverenouncedtheworldbut you have not renounced your rage. How then can you stake a claim toheaven?’

In the Hindu world, everything is God. Everything. Even the Kauravas.EverythingintheworldisapartofKrishna.Everythingthereforecanbelovedand is capable of loving. He who has truly realised Krishna cannot hate theKauravas.He cannot hate anyone.Krishnamay punish theKauravas for theirmisdeeds,butheneverrejectsthem.Hislovemakesroomfortheweakest, thecruellest,themostimperfect.Thisisdharma.

Whenwestoploving,weembraceadharma.Wejudge,condemnandrejectpeople. Invalidate theminhatred.Westopbeinggenerous.Like theKauravas,we become mean-minded, petty, stingy, clingy and possessive. Or like thePandavas,webecomeclueless,confused,insearchofdirectionandwisdom.WeforgetthepathtoMadhuvan.WeentrapourselvesinKurukshetra.

Theearthweepsforus.Becauseinourinabilitytolove,inourpursuitforpower,inourlackofwisdom,weloseagoldenopportunitytoenjoylife,makelifeenjoyableforothersandfindjoyingivingjoy.ThatiswhytheKrishnasagabegins when the earth-cow stands before Vishnu and begs him to save herchildren.

God listens. The cowherd turns into the charioteer. He disciplines theunrulyhorsesoftheheadwithversesoftheBhagavadGita.Theversesprovideatrueunderstandingoflife,anunderstandingthatpreventsfalseinterpretationsof circumstances and false expectations from theworld.Thus enlightened, theheartlosesitscravingforpowerandembraceslove.Weparticipateinlife,nottocontrolit,buttoappreciateit.

PosterartshowingRadhaandKrishna

The charioteerKrishnaof theMahabharata, lordofRukmini, appeals toour head and helps us in times of crisis. He transforms our world from a

battlefieldintoagarden.HeleadsusoutofKurukshetraandhelpsusreturntoMadhuvan.

TherewefindthecowherdKrishnaoftheBhagavata,lordofRadha,whoappealstoourheart,andawakensadesireforcelebration.Sensesstirred,heartrejoicing in love, head filledwithwisdom,we submit innocently to hismusicandtakeourplaceinhisMaha-raas.