“Men’s stories are the bones of a bygone age, sanctified as relics, preserved in stone. Women’s stories are written in water. Passed in silence from mother to daughter. About things perishable: flesh, blood, feelings, tears. Suffering. Endurance is a sign of womanliness. But what men overlook is that endurance is a crucible, it changes the existing state.”
(source: Prologue, The Kaunteyas)
The serial Yeh rishta kya kehlata hai just aired its 2,267th episode. Dallas and Dynasty may have inspired Indian screenwriters to script convoluted family sagas, but our own indigenous tradition for such fare is very old.
Long before the writing of the Mahabharata began, over 2000 years ago, it was already a well-known tale that had thrived for centuries. Storytellers performed it before audiences, but it was probably a talking point in every household. Why? Because it is about family. One of the methods used to keep multiple generations of listeners engaged was to constantly re-frame the narrative; every possible character, situation and plot twist was included in the mix so that eventually a famous (tag) line said: What is here may be found elsewhere, what is not here is nowhere.
The Mahabharata is regarded as itihasa, that some translate as ‘history’. But history, strictly speaking, has no lessons to offer; it is for the student of history to decide what s/he wants to make of it. An epic like the Mahabharata is a different matter: the concept of time that applies to history is irrelevant. Also, its sheer size and variety, offering profit and pleasure, makes it accessible to a wider range of people.
Oral storytelling is more nuanced because it is sensitive to a ‘live’ audience. The Mahabharata, originating in this tradition, carries within it multiple meanings, stories and ways of telling them. It has, and it will for generations to come, inspire us to seek or renew these meanings, stories and storytelling styles. That is the secret of its enduring appeal.