Bhagvata Purana, Skandha 1

I have to admit that I did not even know about this book till somebody told me that the Bhagvata Purana is also known as the fifth veda. I further saw references to this Purana in the Dharmasahastra book by Kane and then figured, it is high time that I actually take a look at this book praised by so many, but not discussed enough. And once I actually got my hands on a couple of copies, I think I figured out why this is relatively obscure (compared to the Vedas, Upanishads, Shruti’s and Smritis). Depending upon the version, the books range from 1500 to 2240 pages in length, containing north of thirteen thousand Sanskrit verses. One needs to be very dedicated or locked up for some serious time to really go through this. Nevertheless it is a beautiful book with lovely tales and I thought of reviewing it, as I really could not find any good reviews elsewhere.

Before I start, first some background and logistical points. I used the following books:
1. The Bhagavata Purana: v. 7 (Ancient Indian Tradition and Mythology) by J.L. Shastri and Ganesh Vasudeo Tagare (1994)
2. Bhagavat Purana by Ramesh Menon (2007)
3. A Study of the Bhagavata Purana or Esoteric Hinduism by Purnendu Narayana Sinha, 1901.
4. Srimad Bhagavata Puranam, Sanskrit, 2004.
5. Bhagavata Puranam, Sanskrit, 2006 (under revision)
6. Srimad Bhagavatam (Bhagavata Purana) by Swami A. C. Bhaktivedanta Prabhupâda.

Quite a lot of the versions are different in formulation, usage of English and the so on. If one wants to be true to the Sanskrit versions (which themselves differ a bit), then the Prabhupada version is good, as it has the original Sanskrit, a word by word translation and a summary. In any case, my knowledge of Sanskrit is barely intermediate and I wouldn't be comfortable in dealing with a review based upon that language based book. Reading Sanskrit is one thing, but reviewing in pure ancient Sanskrit? No Sir. If one wants to have a bit more colloquial English usage and more understanding as per modern usage, then I suggest the Menon version. Rest of them use a bit of archaic English and can be a bit difficult to digest. So this review uses the Menon version.

So how do you review such a monumental book? I was struggling with the answer. I could have reviewed the full book down in one long essay but then this would have missed out on giant parts. Doing a translation is simply out of the question. So after discussing it a bit, I hit upon the idea of writing a summary per Skandha (canto or book) and then highlighting any interesting points that popped up in my mind. This means twelve rather long essays, but I think I can live with that on my conscience that one has done justice to it. If you want to rather get a quick overview of the purana, then the wiki entry is a good place to start. Without further ado, lets crack on.

My first impression after I finished the book was that it was mainly about love, very very intense love. Extremely emotional love. Something that makes you weep uncontrollably. Not bawl, but weep. Not sure if you have experienced this, but it's like none of your emotions (speech, sight, touch, smell…) are able to express it and tears are the only way to do so. I felt like this when I first held my kids in my arms. Or when I used to dance in front of Ma Durga during Durga Puja back home with the Dhunuchis. This book is an expression of very intense love towards Vishnu or his incarnation Krishna. Have you read Rumi? The feeling I got was a bit like what I felt when I read Rumi. Rumi, though, is a bit more earthy and this is a bit more esoteric, although some parts of the purana are quite earthy. It is Bhakti personified.

The purana is roughly dated to between 500 to 1000 AD, but it has gone through so many changes, accretions, embellishments, etc. that it is tough to date it correctly. Plus let us not forget that these are stories and generations of scholars and teachers in a vast land have told these stories in a variety of locales and to a huge number of people. It is a miracle that we actually get to a version in the first place.

The first Skandha introduces the purana, which written by Veda Vyasa, who writes this after completing the vedas and Mahabharat. The main reason behind writing this was that the Vedas and Mahabharat do not satisfactorily deal with the highest goal of knowledge and that is devotion to God (Bhakti). Another reason for for writing it, is to assist us in handling the Kali Yug, which came into being when Krishna died. When people begged him to leave something of him behind so that they can cope with the Kali Yug, Krishna poured his essence into the Bhagwat Purana.

Narada Muni is a key participant in the beginnings of the BP. An interesting story is said about him. Narada is disconsolate, because he is wandering around in Kali Yug and is observing the breakdown of divine order. While wandering on the banks of the Yamuna, he notices a young woman sitting next to two very old sick men, while being surrounded with many other young women. The young woman turns out to be Bhakti and the two old sick men are Gyan (knowledge) and Vairagya (detachment or renunciation). The other young women are the sacred rivers such as Ganga, etc. who are trying to provide comfort to Bhakti. The Kali Yug has devastated her two sons even though it spared her.  Narada blesses her by saying that Bhakti will be the only way to salvation and then tries to rescue her two sons by chanting the Vedas and Upanishads in their ears, singing the Bhagvad Gita to them. They improved, but not completely. On beseeching the Lord to provide him with some guidance, a voice from the skies tells him to go speak to certain Munis. On searching and leter finding them, Narada asks the Munis about how to cure the two sons of Bhakti? The Munis state that he has to recite the BP to them and since it contains the essence of Lord Vishnu, it will revive them. So he does and Bhakti and her two sons are also revived.

But this was not the first time that the BP had been recited. Thirty years after Krishna died, Vyasa’s son Suka recited the BP to King Parikshit, grandson of Arjuna, son of Abhimanyu, who succeeded Yudhistra to the throne of Hastinapur. But this story is for later. The second great recitation of the BP happened two hundred years after the Kali Yug had started by Gokarna Muni.

The BP then embarks on a long tale of how a childless Brahman begged for a boon of a child from a Sanyasi. The Sanyasi gives a blessed fruit to him and asks his wife to eat it, keeping a vow of truthfullness, kindness and charity for an entire year, not eating more than one meal per day, and if that is done, then a pure golden hearted pious son will be born. But his wife did not want to ruin her figure or go through the pain of childbirth so she hatched a plan with her sister. The fruit was given over to their cow while her sister’s new born baby was smuggled in to be shown as the Brahman’s son called as Dhundhukari. Three months later, the cow gave birth to a human child with golden skin and eyes like lotus petals, but with cow ears. Hence his name, Gokarna (or Cow Ears). Both grow up together, but Dhundhukari turns out to be a devil in disguise, a disgusting sinner, while Gokarna is pure as the snow on Mount Kailash. The Brahman is at his wits end and Gokarna advices him to cultivate dispassion and renounce the world, which he does. Gokarna also leaves on a pilgrimage. Dhundhukari commits terrible crimes, beats up his own mother, steals, whores and lies and at the end, the whores decide to kill him and they do. Unfortunately, Dhundhukari remains behind on earth after death as a spirit. Gokarna senses Dhundhukari’s death and the fact that he is not truly dead, but is still a tortured spirit. Gokurna performs a shraddha at every holy spot, but it does not release Dhundhukari from the earth and finally he returns to his hometown. Dhundhukari begs him for help to be released and Gokurna then embarks on a deep dhyan (meditation) to Surya Deva (Sun God) to learn how to address this. The Sun God advices him to recite the BP as that is the only way Dhundhukari’s soul will be released. So Gokurna starts the recitation with many many people attending the week’s worth of recitation and when he ends, Dhundhukari is released from his earthly bounds.

The others who were listening, though, do not get their sins washed away. Gokurna is told by the sages that Dhundhukari fasted for seven days and he listened to Gokurna’s recitation with all his faculties and might. This is the reason why Dhundhukari was released and not the others. When the others learnt this, they begged Gokurna to recite the BP again which he did. This allowed all the listeners to also be washed free of their sins by Vishnu who appeared after a great conch shell boom in a blaze of light.

Thus ends the first book. I had to consciously lay aside my erupting cynicism. The first book tries hard to explain why the BP is so important and how it helps to wash away the sins. I thought about self praise? However, as I kept on reading, I realised that I was reading it as perhaps a professor wanting to write a book review and not as a worshipper or a person of faith wanting to learn. That switch was not easy and I found myself slipping back into the cynical, doubting persona many times. The apparent inconsistencies about the origins of the purana bothered me as well till I spoke to my father. He told me, if Vishnu is indeed the world, then how does it matter if one manifestation or another wrote or spoke what? What matters is the content. And that made perfect sense.

What was also a bit frightening for a grown man like me was the underlying concept of letting go. Letting go of everything and with tan, man and dhan (body, mind and wealth) and concentrate on the pursuit of Bhakti, devotion to God. I am not sure if I have achieved that and am very far away from the ideal. It felt quite strange reading about people who can be so dispassionate that they are able to walk away from everything that they hold dear (for me it would be my family, my iPhone, my books, etc.) and devote their all and everything to being in love with Krishna. I am not sure if I can ever do that and it was very humbling to find that I do not have the courage or guts to do so.

What a fascinating journey into a wonderful book which is raising more questions than answering them.