Q.Find out about retellings of the Mahabharata in other languages. Discuss how they handle any two of the episodes of the text described in this chapter, explaining any similarities or differences that you notice.

The Mahabharata has been retold in many Indian languages, each version reflecting the cultural and regional context of its audience. For example, the Tamil version by Perundevanar and the Kannada version by Pampa offer distinct treatments of key episodes.

In the episode of Draupadi's disrobing, the Tamil retelling emphasizes her unwavering devotion to Krishna, who miraculously extends her saree. This version highlights divine intervention and Draupadi's faith as central themes. In contrast, Pampa's Kannada version focuses more on the political humiliation of the Pandavas and the moral failure of the court, downplaying the miraculous element to stress human agency and social critique.

Regarding the dice game, the Tamil retelling portrays Yudhishthira's gambling as a tragic flaw driven by fate, with Shakuni's cunning as a tool of destiny. The Kannada version, however, presents the game as a calculated political conspiracy, where Yudhishthira's weakness is exploited by Duryodhana's ambition. Both versions agree on the game's catastrophic consequences, but the Tamil version leans toward fatalism, while the Kannada version underscores human scheming.

The Mahabharata is not a single, fixed text but a living tradition that has been retold across India and beyond for centuries. Each retelling adapts the epic to its own linguistic, cultural, and historical context, sometimes altering episodes to emphasise different moral lessons or to challenge dominant interpretations. The NCERT textbook notes that the epic exists in many versions, from Sanskrit manuscripts to regional languages like Tamil, Telugu, Kannada, Malayalam, and even in oral traditions. Two episodes that reveal fascinating variations are the game of dice and the disrobing of Draupadi, and the final war and its aftermath.

Consider the game of dice. In the Sanskrit version attributed to Vyasa, the episode is a straightforward narrative of Yudhishthira’s fatal flaw — his addiction to gambling — and Shakuni’s cunning manipulation. The dice game is a test of dharma, where Yudhishthira loses everything, including himself and his brothers, and finally Draupadi. The disrobing scene is dramatic: Duryodhana orders Draupadi to be dragged into the court, and when Dushasana tries to strip her, Krishna miraculously protects her honour by making her sari endless. This episode underscores the theme of divine intervention and the helplessness of a virtuous woman in a patriarchal society.

Now, look at a regional retelling like the Tamil version by the poet Villiputturar (the Villibharatam, composed around the 14th century). Here, the dice game is given a more local flavour. Villiputturar emphasises the emotional turmoil of Draupadi, portraying her not just as a victim but as a fierce, articulate woman who challenges the Kaurava court with sharp wit. In one striking variation, when Dushasana tries to disrobe her, Draupadi prays not to Krishna but to the goddess Draupadi Amman, a folk deity worshipped in Tamil Nadu. The miracle still occurs, but the agency shifts from a male god to a female divine power, reflecting the strong tradition of goddess worship in South India. The episode also includes a curse: Draupadi vows that she will not tie her hair until it is washed with Dushasana’s blood — a detail that is present in the Sanskrit version but is given far more emotional weight in the Tamil retelling, where her unbound hair becomes a symbol of her rage and a call for vengeance.

Now, take the final war and its aftermath. In the Sanskrit epic, the Kurukshetra war is a colossal, bloody conflict that lasts eighteen days, with detailed descriptions of battles, strategies, and the deaths of countless warriors. After the war, Yudhishthira is crowned king, but he is haunted by guilt and performs a horse sacrifice to atone for the slaughter. The epic ends with the Pandavas’ journey to heaven, where they face final tests of their virtue.

In contrast, a regional retelling like the Telugu Andhra Mahabharatam by the poet Tikkana (13th century) handles the war with a different emphasis. Tikkana, writing in the court of the Kakatiya dynasty, downplays the graphic violence and instead focuses on the philosophical and moral dilemmas faced by the characters. For instance, the death of Karna is treated with profound pathos: Tikkana expands on Karna’s inner conflict, his loyalty to Duryodhana, and his tragic fate, making him a more sympathetic figure than in the Sanskrit version. The war itself is described less as a physical battle and more as a clash of dharmas — a theme that resonates with the Telugu audience’s appreciation for nuanced ethics.

Another striking difference appears in the aftermath. In the Sanskrit version, the Pandavas rule for many years and then renounce the world. But in some folk retellings from Rajasthan and Gujarat, the story does not end with heaven. Instead, Draupadi is shown as a powerful queen who continues to challenge patriarchal norms, and the epic sometimes concludes with a moral lesson about the futility of war — a reflection of the local experience of conflict and loss.