Thereinafter, amid ever-recurring sweep of furious blasts and counterblasts, ever-changing chances of fortune and misfortune, comes the great gambling scene which, deprived of disagreeable details and properly staged, should make the fortune of any dramatist who could really touch it. A fine scene, truly! Yudishthira, eldest of the Pandu princes, their ruling spirit, the brain, so to speak, of Bhima's strength, Arjuna's skill, Nakula's devotion, Sahadeva's obedience, had been challenged to a gambling bout by his chief enemy, Dhritarâshta's eldest son Duryôdhana. To this, according to the soldier's code of honour, there could be no refusal. But Yudishthira, gambler at heart, would not acknowledge himself beaten. He stakes his riches, his kingdom, his brothers, himself--last of all, his wife.
Losing her, she is sent for to the gambling saloon. She refuses to come. Finally, dragged thither by force, she pleads that Yudishthira, having first gambled away himself, was a slave, and so had no right to stake a free woman. Then ensues a scene of conflicting passions and protest which, once read of, lingers in the mind, rising superior to the certain disagreeable details which undoubtedly disfigure it in the original.
So the story sweeps on and on, ending really with Bhishma's death on the field of battle after a final encounter in which Arjûna, realising that victory is unattainable so long as "the Grandsire" lives, uses Chikandîn, the man-woman, as his shield, and so brings about the defeat of the otherwise invincible Bhishma. The latter, "lying on his bed of arrows," surrounded by all the princes, then proceeds to discourse for long days ("until the sun, entering its northern declension, permitted him to resign his life-breath") on the whole duty of mankind, and especially on the duties of kingship.
These discourses, which in the English translation run to over 2000 pages, are marvellously illuminating. When we read in them doctrines of kingly science which long centuries later were to be re-enunciated by Machiavelli, when we find in them many a theory of modern science forestalled by some bold, theoretical plunge into the Infinite, that Infinite to which "it is impossible to set limits since it is limitless," we may well pause to ask ourselves how much nearer we are to discovering the Great Secret than those were who, nearly three thousand years ago, puzzled themselves over the problem of consciousness, and why, "when the mind is otherwise engaged, the life-agent in the body heareth not."
Have we, even in science, gone much further than the assertion that "Space, which even the Gods cannot measure, is full of blazing and self-luminous worlds?"
Perhaps we have; but of a certainty we cannot outclass the Mâhâbhârata in the imagination with which it treats the Insoluble.
"In the Beginning," we read, "was infinite Space motionless, immoveable. Without Sun, Moon, or Stars, it seemed to be asleep. Then a darkness grew within the darkness, and water sprang to life."
So, gaining force as it goes like some giant wave, the vast epic sweeps on, gathering worthless pebbles and hopeless wreckage, with its thousand facets of bright bold sea, to leave us, after it has crashed over us, bewildered, storm-shaken on the shore, our heads whirling with wild memories of flashing, jewel-set cuirasses, "beautiful like the firmament of night bespangled with stars," of floating veils "like wind-tossed clouds," of celestial voices, "deep as the kettledrums of the skies," of "sparkling showers of keen arrows like the rays of the sun," of "tender, small-waisted maidens," and "mighty, high-souled car-warriors."
It is a marvellous dream, and as one reads it the ceaseless fall of seas upon a shore seems to fill the ear with the eternal message of indestructible life.
The Râmâyana, great though the epic is, and, in a way, more poetical, has none of this storm and stress. As R. C. Dutt, in his "Ancient India," says:--