Don't Believe Everything You Think Summary by Joseph Nguyen

Don't Believe Everything You Think Summary by Joseph Nguyen

Don't Believe Everything You Think Summary by Joseph Nguyen ,  is a thought-provoking and insightful book that challenges the notion that our thoughts are always accurate and reliable. Written by an acclaimed psychologist, the book explores the concept of cognitive biases and how they influence our perception of reality.

The author argues that our minds are prone to various cognitive biases, which are systematic errors in thinking that can distort our judgments and decision-making processes. These biases often lead us to believe false information, make faulty assumptions, and draw incorrect conclusions without even realizing it. Don't Believe Everything You Think Summary by Joseph Nguyen

Through engaging anecdotes, scientific research, and practical examples, the book reveals the common cognitive biases that affect our everyday lives. It explores biases such as confirmation bias, where we tend to seek out information that confirms our preexisting beliefs, and availability bias, which leads us to rely on readily available information rather than seeking out more accurate or comprehensive data.

The central message of the book is that we should be skeptical of our own thoughts and be open to questioning and challenging them. By recognizing and understanding our cognitive biases, we can become more critical thinkers and make better-informed decisions. The author provides practical strategies and techniques to help readers overcome these biases and develop a more accurate and nuanced understanding of the world.

"Don't Believe Everything You Think" serves as a wake-up call, urging readers to be more aware of the limitations of their own thinking and to approach information with a healthy dose of skepticism. It encourages intellectual curiosity, critical thinking, and a willingness to consider alternative perspectives, ultimately empowering readers to navigate the complexities of the modern world with greater clarity and insight.

Confirmation Bias

This chapter delves into confirmation bias, where individuals tend to seek information that confirms their preexisting beliefs. It provides examples and studies that illustrate how confirmation bias can influence decision-making and hinder the consideration of alternative viewpoints.

Availability Bias

The third chapter explores the availability bias, which occurs when people rely on readily available information rather than seeking out more accurate or comprehensive data. It examines how this bias can lead to distorted perceptions of risk and affect judgments in various domains.

Anchoring Bias

In this chapter, the book focuses on the anchoring bias, which impacts judgments based on an initial piece of information (the anchor), even if it is irrelevant or arbitrary. It discusses experiments and real-life scenarios that demonstrate how anchoring bias can influence decision-making and negotiations.

Overconfidence Bias

examines the overconfidence bias, where individuals have unwarranted faith in their own abilities and judgments. It explores the consequences of overconfidence and how it can lead to poor decision-making and a lack of openness to alternative perspectives.

Framing Bias

This chapter addresses the framing bias, which occurs when the way information is presented (the framing) influences perceptions and choices. It explores how framing bias can impact decision-making in areas such as health, finance, and politics.

Cognitive Dissonance

Chapter seven delves into cognitive dissonance, the discomfort experienced when beliefs or behaviors conflict with each other. It explores how cognitive dissonance can lead to biased thinking and discusses the strategies people employ to reduce or resolve it.

The Illusion of Control

In this chapter, the book explores the illusion of control, where individuals tend to believe they have more control over outcomes than they actually do. It discusses the impact of this bias on decision-making, risk assessment, and personal well-being.

Strategies for Critical Thinking

Chapter nine provides practical strategies and techniques to overcome cognitive biases and develop critical thinking skills. It offers guidance on evaluating evidence, challenging assumptions, and seeking out diverse perspectives

 

 

The Lady of Shalott Summary and Themes

The Lady of Shalott Summary and Themes "The Lady of Shalott" is a famous poem written by Alfred Lord Tennyson in 1832.The poem tells the story of a woman who is cursed and forced to live a life of isolation on the island of Shalott.

The Lady of Shalott Summary and Themes

The curse states that if she ever looks outside, she will be cursed. The Lady of Shalott is resigned to her fate and weaves her web day after day. To see the world outside, the Lady of Shalott uses a mirror that reflects what is happening outside her tower. She sees people going about their lives, knights riding by, and other scenes from the outside world. She weaves what she sees into her magic web, but she is not allowed to experience the world for herself.

One day, the Lady of Shalott sees Sir Lancelot riding by and she can't resist the temptation to look outside. She sees him in the mirror and is struck by his beauty. She leaves her loom and looks out of the window, breaking the curse. The Lady of Shalott knows that her fate is sealed and she must leave the island of Shalott.

The Lady of Shalott leaves her tower and gets into a boat, setting sail down the river. As she floats down the river, she sings a haunting song that describes her tragic fate. She knows that she is doomed and that she will never see Sir Lancelot again.

As the Lady of Shalott floats down the river, she reaches Camelot, where Sir Lancelot is staying. When he sees her in the boat, he is struck by her beauty and wonders who she is. As he approaches her, the Lady of Shalott dies, fulfilling the curse that had been placed upon her.

The Lady of Shalott explores several themes, including isolation, temptation, and the dangers of pursuing one's desires. The Lady of Shalott is isolated on the island of Shalott and is not allowed to experience the world for herself. When she sees Sir Lancelot, she is tempted to break the curse and look outside. This ultimately leads to her downfall and death.

The Lady of Shalott Summary and Themes

The poem is full of symbolism, including the magic web that the Lady of Shalott weaves. The web represents her isolation and the fact that she is unable to experience the world for herself. The mirror that she uses to see the outside world represents her limited perspective, and the river that she floats down symbolizes her journey towards death.

The Lady of Shalott makes use of several literary devices, including imagery, alliteration, and repetition. The descriptions of the outside world that the Lady of Shalott sees in the mirror are vivid and detailed, creating a sense of atmosphere and setting. Alliteration is used to create a musical quality to the language, while repetition is used to emphasize certain words and phrases.

In conclusion, "The Lady of Shalott" is a haunting and tragic poem that explores themes of isolation, temptation, and the dangers of pursuing one's desires. The poem is full of symbolism and makes use of several literary devices to create a vivid and atmospheric story. The Lady of Shalott's story serves as a warning to those who would seek to break the rules and pursue their desires at any cost

 

The Curse

The poem begins by introducing the curse that has befallen the Lady of Shalott. She is a weaver and spends her days weaving a magic web, but she is not allowed to look outside her tower. The curse states that if she ever looks outside, she will be cursed. The Lady of Shalott is resigned to her fate and weaves her web day after day.

The Mirror

To see the world outside, the Lady of Shalott uses a mirror that reflects what is happening outside her tower. She sees people going about their lives, knights riding by, and other scenes from the outside world. She weaves what she sees into her magic web, but she is not allowed to experience the world for herself.

Sir Lancelot

One day, the Lady of Shalott sees Sir Lancelot riding by and she can't resist the temptation to look outside. She sees him in the mirror and is struck by his beauty. She leaves her loom and looks out of the window, breaking the curse. The Lady of Shalott knows that her fate is sealed and she must leave the island of Shalott. The Lady of Shalott Summary and Themes

The River

The Lady of Shalott leaves her tower and gets into a boat, setting sail down the river. As she floats down the river, she sings a haunting song that describes her tragic fate. She knows that she is doomed and that she will never see Sir Lancelot again.

The Death of the Lady of Shalott

As the Lady of Shalott floats down the river, she reaches Camelot, where Sir Lancelot is staying. When he sees her in the boat, he is struck by her beauty and wonders who she is. As he approaches her, the Lady of Shalott dies, fulfilling the curse that had been placed upon her.

Themes

The Lady of Shalott explores several themes, including isolation, temptation, and the dangers of pursuing one's desires. The Lady of Shalott is isolated on the island of Shalott and is not allowed to experience the world for herself. When she sees Sir Lancelot, she is tempted to break the curse and look outside. This ultimately leads to her downfall and death.

Symbolism

The poem is full of symbolism, including the magic web that the Lady of Shalott weaves. The web represents her isolation and the fact that she is unable to experience the world for herself. The mirror that she uses to see the outside world represents her limited perspective, and the river that she floats down symbolizes her journey towards death.

Literary Devices

The Lady of Shalott Summary and Themes - The Lady of Shalott makes use of several literary devices, including imagery, alliteration, and repetition. The descriptions of the outside world that the Lady of Shalott sees in the mirror are vivid and detailed, creating a sense of atmosphere and setting. Alliteration is used to create a musical quality to the language, while repetition is used to emphasize certain words and phrases.


The Snows of Kilimanjaro Summary and themes

 The Snows of Kilimanjaro Summary

The Snows of Kilimanjaro Summary Ernest Hemingway's "The Snows of Kilimanjaro" is a classic short story that is widely regarded as one of his finest works. The story follows the protagonist, Harry, who is on safari in Africa with his wife, Helen. Harry is a writer who has never achieved the success he feels he deserves, and as he lays dying from a gangrene infection, he reflects on his life, his failures, and his regrets. In this article, we will delve deeper into the story's plot, themes, and characters.

Plot Summary

The story begins with Harry and Helen on a safari in Africa. Harry is suffering from a gangrene infection, and his condition is worsening. He has a conversation with Helen about his life and his regrets, particularly about not achieving literary success. Harry is bitter about his life and is consumed by regret, and as his condition worsens, he starts to hallucinate.

In his delirium, Harry has flashbacks to his past, including his time in Paris, where he lived with his first wife, Hadley. He also remembers his affair with Cynthia, a wealthy woman who offered to support him financially, but whom he left for Helen. As Harry's condition deteriorates, he becomes increasingly resigned to his fate and regrets his wasted life.

The Snows of Kilimanjaro Summary Finally, as Harry lays dying, a rescue plane arrives, but it is too late. Harry passes away, and Helen is left to grieve and reflect on their relationship and her own regrets.

Concerning the structure of this story, note that Hemingway divides it into six sections and within each of these sections inserts a flashback that appears in italic, continually juxtaposing the hopeless, harrowing present with the past, which often seemed full of promise.

The Snows of Kilimanjaro Summary and themes

The flashbacks themselves center around concerns about the erosion of values: lost love, loose sex, drinking, revenge, and war. They are a mix of hedonism, sentimentality toward the human condition, and leaving unfinished business. Here, in this story, the symbolism of Kilimanjaro is contrasted with the symbolism of the plains. Harry is dying in the plains from gangrene, a stinking, putrid, and deadly infection, causing his body to rot and turn greenish black. Against Harry's background of dark, smelly horror and hopelessness, Hemingway contrasts Harry's memories of the good times that he had in the mountains. Good things happen in the mountains; bad things happen on the plains. Hemingway ends his story with Harry's spirit triumphant, as when Harry dies, his spirit is released and travels to the summit of the mighty mountain where the square top of Kilimanjaro is "wide as all the world"; it is incredibly white as it shines dazzlingly in the sunlight. The mountain is brilliant, covered with pure white snow; it is incredibly clean — a clean, well-lighted place.

·        It is important to note here that there were three deeds throughout Harry's life that facilitated his otherworldly trip to Kilimanjaro at the time of this death:

·        Giving away his last morphine pills that he saved for himself to his friend Williamson, who is in horrendous pain

·        Harry's intention to write (the mental writing of the flashbacks) in his painful stupor

·        Sacrificing himself to his wife as opposed to absolving himself

During his otherworldly flight over Kilimanjaro, Harry sees the legendary leopard. The dead, preserved leopard can be seen as a symbol of immortality, a reward for taking the difficult road. Harry himself was a "leopard" at certain times in his life, as were some of his acquaintances in his own stories. Specifically, Harry can be seen as a leopard during

·        His youth, when he lived in a poor neighborhood of Paris as a writer

·        In the war, when he gave his last morphine pills for himself to the horribly suffering Williamson

·        On his deathbed, when he mentally composes flashbacks and uses his intention to write

·        When he stays loyal to his wife and does not confess to her that he never really loved her

·        Some mystic impulse within Harry and within the leopard drove them to seek out God, or the god within themselves, or immortality that resided far from ugly, mundane reality.

The Snows of Kilimanjaro Summary In most civilizations, God or God's promise of immortality resides on the highest mountain top: Mount Olympus for the Greeks, Mount Sinai for the Hebrews, Mount Fuji for the Japanese. If the leopard was searching for some sort of immortality, then it found immortality at the summit of Kilimanjaro, where it lies frozen — preserved for all eternity.

When Harry looks at Kilimanjaro, he sees it as a symbol of truth, idealism, and purity. When he dies, tragic irony exists. The leopard died in a high, clean, well-lighted place; Harry, in contrast, dies rotting and stinking on the plains, lamenting his wasted life and his failure to complete his desired projects.

In his novels and especially in his short stories, Hemingway often uses mountains to symbolize goodness, the purity, and cleanness, and he uses the plains as a symbol of evil and confusion. This contrast has often been commented on by Hemingway scholars.

Not surprisingly, because death is at the core of this story, one of the central themes that occurs again and again in Hemingway's stories and novels is man's direct encounter with death or with approaching death. Whether a man is in war and on the battlefield (as Nick Adams is in several stories; as are Hemingway heroes in his novels A Farewell to Arms, For Whom the Bell Tolls, and parts of The Sun Also Rises) or facing death (as Nick Adams is when he is severely wounded in "A Way You'll Never Be" and "In Another Country"), or on big game hunts, facing charging animals (as Francis Macomber is in "A Short Happy Life"), the theme of man's direct encounter with death is always pivotal to the story. Death is always present as Hemingway examines how man reacts and behaves in the face of death. In this case, as with other of Hemingway's heroes, we have a writer, Harry, who never writes what he has wanted to; now it is too late. Death is so near that it can be smelled, even in the presence of the stinking, smelly hyena.

 

Themes

"The Snows of Kilimanjaro" is a story that explores themes of regret, mortality, and the struggle for artistic success. Harry is a writer who has never achieved the success he feels he deserves, and he is consumed by regret over his wasted potential. The story also explores the inevitability of death and the fleeting nature of life. Harry's realization that he is about to die forces him to confront his own mortality and reflect on the choices he has made in life.

Another theme in the story is the struggle for artistic success. Harry is a writer who has never achieved the success he feels he deserves, and he is bitter about the fact that he has wasted his talent. The story explores the sacrifices that artists must make to achieve success, as well as the price that must be paid for failing to do so.

Characters

The two main characters in "The Snows of Kilimanjaro" are Harry and Helen. Harry is a writer who is bitter about his lack of success and consumed by regret. He is also physically ill, which adds to his sense of despair. Helen is Harry's wife, and she is portrayed as a caring and devoted partner who is trying to help Harry in any way she can.

The story also features several minor characters, including Pop, the safari guide, and Molo, the cook. These characters help to provide context for Harry and Helen's journey and offer a glimpse into the world of African safaris.

Conclusion

In conclusion, "The Snows of Kilimanjaro Summary " is a classic short story that explores themes of regret, mortality, and the struggle for artistic success. The story's protagonist, Harry, is a writer who has never achieved the success he feels he deserves and is consumed by regret. The story is a powerful reminder of the fleeting nature of life and the importance of living it to the fullest.

 

The Nightingale and the Rose Summary by Oscar Wilde

 The Nightingale and the Rose Summary by Oscar Wilde

The Nightingale and the Rose Summary by Oscar Wilde - "The Nightingale and the Rose" is a short story by Oscar Wilde, published in 1888 as part of his collection "The Happy Prince and Other Tales." The story follows a young student who wants to impress a girl by bringing her a red rose, but cannot find one. A nightingale offers to help by sacrificing her own life to create a red rose for the student. However, despite the nightingale's sacrifice, the student rejects the rose and the girl rejects the student, leading to the nightingale's tragic end.

     Before diving into the story, it's important to understand some background information about Oscar Wilde and his writing. Wilde was a famous Irish playwright, novelist, and poet in the late 19th century. He is known for his witty and satirical writing, as well as his personal life, which was filled with scandal and controversy. Wilde's writing often explored themes of love, beauty, and morality, and "The Nightingale and the Rose" is no exception.

ABOUT OSCAR WILDE

Oscar Wilde is a renowned Irish playwright, novelist, and poet known for his witty and often satirical works that challenged the social norms and conventions of his time. He was a prominent figure in the aesthetic and decadent movements of the late 19th century and remains one of the most celebrated writers in history. The Nightingale and the Rose Summary by Oscar Wilde , In this website, we will delve into his life, works, and legacy, exploring his influence on literature and popular culture.

Oscar Wilde was born in Dublin, Ireland in 1854 to Sir William Wilde, a well-known eye and ear surgeon, and his wife Jane Francesca Elgee, a writer and poet. Wilde was an exceptional student and attended Trinity College in Dublin, where he excelled in classics, literature, and philosophy. After graduation, he moved to London to pursue a career in writing and soon became a prominent member of the literary and artistic circles of the city. Wilde's literary career began in the early 1880s with the publication of his poetry collections "Poems" and "The Sphinx." However, he gained significant recognition for his plays, which were known for their wit, satire, and flamboyant characters. His most popular works include "Lady Windermere's Fan," "A Woman of No Importance," "An Ideal Husband," and "The Importance of Being Earnest."

The Nightingale and the Rose Summary by Oscar Wilde's writing was heavily influenced by the aesthetic movement, which emphasized the beauty of art and the pursuit of pleasure above all else. He challenged the conventional moral and social values of Victorian society through his works and was often criticized for his unorthodox beliefs and lifestyle.

 

The Nightingale and the Rose Summary

The story begins with a young student who is in love with a girl, but she tells him that she will dance with him only if he brings her a red rose. The student searches all over the garden for a red rose, but cannot find one. The Nightingale and the Rose Summary by Oscar Wilde , A nightingale hears the student's desperate plea and offers to help. The nightingale tells the student that she will sing all night long while pressing her heart against a thorn, and her blood will create a red rose.

The nightingale sacrifices herself to create the rose, and the student is overjoyed when he finds it in the morning. However, when he presents the rose to the girl, she rejects it, saying that she now prefers jewels to flowers. The student is heartbroken and throws the rose into the gutter, where it is trampled and destroyed. The nightingale dies alone in the garden, with her song being the only thing left behind.

The Nightingale's Sacrifice

The nightingale agrees to help the student by giving up her life to create a red rose for him. She pierces her heart with a thorn and sings a beautiful song as she dies. Her blood flows into the white rosebush, and the bush produces a red rose. The nightingale's sacrifice is a poignant reminder of the power of love and the lengths that people will go to for the sake of it.

The Nightingale and the Rose Summary by Oscar Wilde

The Student's Betrayal

Despite the nightingale's sacrifice, the student is still unable to win the girl's heart. She is unimpressed by the rose, and the student realizes that he has been foolish in his pursuit of love. He throws the rose into the gutter, and it is trampled upon by a cartwheel. The story highlights the futility of human desires and the ultimate emptiness that comes with them.

The Conflict Between Art and Reality

Wilde uses the conflict between art and reality as a central theme in the story. The nightingale's sacrifice is a work of art, created for the sake of love. However, the student's rejection of the rose highlights the reality of the situation. The rose may be beautiful, but it is ultimately meaningless in the face of the girl's indifference. The story suggests that art may be a way to escape the harsh realities of life, but it can never replace them.

The Power of Love

Love is a powerful force in the story, and Wilde explores its many facets. The nightingale's sacrifice is the ultimate expression of love, but it is unrequited. The girl's love is conditional, based on the student's ability to provide her with a red rose. The student's love is passionate but misguided. The story suggests that love can be both beautiful and tragic, and that it is often impossible to reconcile the two.

THEMES AND SYMBOLISM

"The Nightingale and the Rose" explores several themes, including love, sacrifice, and the nature of beauty. The Nightingale and the Rose Summary by Oscar Wilde, The story shows how love can lead to sacrifice, as the nightingale gives up her life to help the student. It also questions the value of beauty and whether it is worth sacrificing oneself for. The red rose is a symbol of love and beauty, but it ultimately fails to bring the student happiness. The nightingale's song, on the other hand, is a symbol of pure, selfless love and is the only thing that survives in the end.

Analysis

"The Nightingale and the Rose" is a tragic story that explores the darker side of love and beauty. It shows how love can lead to sacrifice and how beauty can be fleeting and ultimately meaningless. The story is also a commentary on society's obsession with material wealth and status, as the girl rejects the rose in favor of jewels.

Wilde's writing style in this story is poetic and lyrical, with vivid descriptions of the garden and the nightingale's song. He uses symbolism to convey deeper meaning, such as the nightingale's sacrifice representing the idea of selfless love.

Conclusion

The Nightingale and the Rose Summary by Oscar Wilde is a beautiful and poignant story that explores the complexities of love, sacrifice, and beauty. Wilde's writing style and use of symbolism create a powerful and memorable tale that stays with the reader long after the story has ended.


Shooting an Elephant Summary and Theme

 Shooting an Elephant Summary and Theme

Shooting an Elephant Summary and Theme "Shooting an Elephant" is an essay by George Orwell, first published in the literary magazine New Writing in 1936. In the essay, Orwell shares his experience as a colonial police officer in Burma, where he was forced to shoot an elephant in front of a crowd of local people. The essay explores themes of power, imperialism, and the effects of colonialism on both the colonizer and the colonized.

Shooting an Elephant Summary

Setting and Characters

The essay is set in Moulmein, a town in Burma (now Myanmar) during the time when Burma was a colony of the British Empire. The main character is Orwell himself, who is working as a police officer in the town. There are also several other characters in the essay, including the Burmese people, the mahouts (elephant handlers), and the European colonizers.

Plot

Shooting an Elephant Summary and Theme The essay begins with Orwell describing his position as a colonial police officer in Burma, where he is tasked with maintaining law and order among the local population. He describes how the Burmese people resent and distrust the British colonialists, which makes his job difficult and often dangerous.

One day, Orwell is called upon to deal with an escaped elephant that has gone on a rampage through the town. Despite feeling conflicted about the situation, Orwell feels pressure to act due to the expectations of the Burmese people and his role as a colonial police officer. Shooting an Elephant Summary and Theme.

Shooting an Elephant Summary and Theme

As he sets out to find the elephant, Orwell is followed by a large crowd of Burmese people who are excited to see the colonial police officer in action. Orwell describes feeling like a performer in a circus, forced to act out a role that is not truly his own.

When Orwell finally comes face to face with the elephant, he realizes that it is not actively threatening anyone and that it could be easily captured and returned to its owner. However, he feels pressure from the crowd of Burmese people to shoot the elephant, as they expect him to assert his power and authority over the animal.

Despite his own misgivings, Orwell feels that he has no choice but to shoot the elephant. He fires several shots at the animal, but it does not die immediately. The elephant continues to suffer and writhe in pain, causing Orwell to feel even more conflicted and guilty.

In the end, Orwell recognizes that he acted against his own beliefs and values, and that he was not able to act on his own free will. He sees the shooting of the elephant as a metaphor for the ways in which colonialism can dehumanize and morally compromise the colonizer.

Overall, Shooting an Elephant Summary and Theme is a powerful critique of imperialism and its impact on human lives. The essay challenges the idea that power and authority are always liberating, and instead highlights the ways in which they can be oppressive and dehumanizing. Orwell's experience in Burma shows the damaging effects of colonialism on both individuals and societies, and it encourages readers to consider the ways in which power and authority can be both liberating and oppressive.

 Shooting an Elephant Themes

Power

"Shooting an Elephant" explores the theme of power and the ways in which it can be both liberating and oppressive. Orwell's role as a police officer gives him a certain amount of power over the Burmese people, but this power also traps him and limits his freedom. Similarly, the Burmese people are oppressed by the British Empire, but they also hold power over Orwell in the situation with the elephant.

Imperialism

Shooting an Elephant Summary and Theme - The essay also explores the theme of imperialism and the effects of colonialism on both the colonizer and the colonized. Orwell is a representative of the British Empire, and his actions in the essay reflect the ways in which colonialism can be dehumanizing and morally compromising. The Burmese people, on the other hand, are oppressed by the British Empire and are forced to live under a system that values their land and resources over their humanity.

Conformity

Another theme in the essay is conformity and the ways in which individuals are pressured to conform to social expectations. Orwell feels trapped by his role as a police officer and by the expectations of the Burmese people, and this pressure ultimately leads him to shoot the elephant. The Burmese people also conform to the expectations of their society, which values the hunting and killing of wild animals.

Conclusion

"Shooting an Elephant" is a powerful essay that explores themes of power, imperialism, and conformity. Orwell's experience as a colonial police officer in Burma gives him a unique perspective on the effects of colonialism on both the colonizer and the colonized. The essay challenges readers to consider the ways in which power can be both liberating and oppressive and the ways in which conformity can lead to moral compromise. Shooting an Elephant Summary and Theme.

Important Questions

How does Orwell feel after shooting the elephant?

Orwell feels guilty and regretful after shooting the elephant. He recognizes that he acted against his own beliefs and values and that he was not able to act on his own free will. This highlights the ways in which power can be oppressive and dehumanizing, even for those who hold it.

What is the significance of the title "Shooting an Elephant"?

The title "Shooting an Elephant" refers to the literal act of shooting the elephant, but it also symbolizes the ways in which power can be used to force individuals to act against their own beliefs and values. The elephant represents both the colonized people of Burma and Orwell himself, who is trapped by his role as a colonial police officer.

How does the essay challenge the idea of imperialism?

Shooting an Elephant Summary- challenges the idea of imperialism by highlighting the ways in which it dehumanizes and morally compromises both the colonizer and the colonized. Orwell's experience in Burma shows the damaging effects of colonialism on individuals and societies, and it encourages readers to consider the ways in which power can be both liberating and oppressive. Overall, "Shooting an Elephant" is a powerful critique of imperialism and its impact on human lives.

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The Old Man at The Bridge Summary | Earnest Hemingway

The Old Man at The Bridge


"The Old Man at The Bridge" was propelled by Hemingway's movements as a war reporter amid the Spanish Civil War during the 1930s, Actually, the story was initially made as a news dispatch from the Amposta Bridge over the Ebro River on Easter Sunday in 1938 as the Fascists were set to overwhelm the locale.

Old Man at The Bridge, The setting is a spot in the wide open amid the Spanish Civil War. An Old Man with scenes sits depleted by the side of the street close to a boat connect that crosses a waterway. Worker exiles and Republican officers loaded down with weapons and supplies escape the propelling Fascist armed force.
     The storyteller, who says that his main goal is to cross the extension and discover how far the adversary has progressed, does as such and finds the Old Man who was perched by the scaffold when he crossed toward the foe as yet staying there when he crosses back. He starts conversing with the Old Man and inspires the data that the place where he grew up is San Carlos; he was the last individual to leave the town, as he was on edge for certain creatures he had charge of The Old Man at The Bridge.
    The storyteller, apprehensively anticipating the appearance of the Fascist armed force and the resulting fight between the militaries, gets some information about the creatures. The Old Man says he had charge of two goats, a feline, and four sets of pigeons. He says a noteworthy instructed him to leave the town and the creatures in light of mounted guns discharge. He says he has no family. He at that point starts to express worry about what will happen to the creatures. He says the feline will be okay since felines can take care of themselves, however he doesn't have even an inkling what will happen to different creatures.
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The Old Man at The Bridge, The storyteller, more worried for the Old Man's wellbeing than that of the creatures, asks what the Old Man's legislative issues are, and the Old Man answers he has none. He is 76, has come 12 kilometers and is too drained to even consider going any further. The storyteller instructs him to stroll up the street and catch a ride on a truck to Barcelona.
The Old Man says thanks to him, yet keeps on communicating worry over the destiny of the creatures he abandoned. The Old Man at The Bridge, The storyteller consoles him, saying the creatures will be fine. The birds will take off, the storyteller says, yet the Old Man keeps on stressing over the goats. The storyteller reveals to him it is better not to consider it, and that he ought to get up and stroll to the trucks.
The Old Man attempts to get up and walk, yet he is excessively drained and sinks down. The storyteller considers, in shutting, that the Old Man's solitary karma is that felines can care for themselves and that the day is cloudy so the Fascists aren't ready to dispatch their planes.
    Hemingway was composing for the North American NewspaperAssociation however chose to present this piece of composing as a short story to a magazine rather than as a journalistic article, which accounts, to a limited degree, for its short length.
    The Old Man at The Bridge, For the majority of its strange inceptions, the story manages commonplace Hemingway topics of sadness, renunciation, and approaching demise. The Old Man is the courageous passivist or fatalistic saint of the story, surrendered to his destiny as a loss of the war. He is excessively old and tired to move, he says, and illustrates, to the storyteller, and the storyteller mirrors that he is certain to be slaughtered once the Fascists advance to the extension over the Ebro. His life is drawn out by the way that the day is cloudy and the Fascists can't dispatch their planes, and his brain is facilitated by the way that felines can care for themselves, yet beside that, the storyteller says there is no hope for him and his passing appears to be sure.
As happens somewhere else in Hemingway's works, explicitly in "The Killers," the storyteller of the story appears to be progressively influenced by the certainty of the man's plausible destiny than by the Old Man. The Old Man at The Bridge, Similarly as the Old Man stresses over the goats he deserted, and the storyteller discloses to him it's best not to consider them, the storyteller stresses over the Old Man he should abandon, however is clearly not ready to quit pondering him.
    All things considered, one waiting inquiry jumps out at the peruser as the story closes and the storyteller weeps over the Old Man's looming demise. For what reason doesn't the storyteller help the Old Man in any event mostly to the trucks destined for Barcelona? Definitely everybody, including the storyteller and the Old Man, is going a similar way. Clearly it would not be an extraordinary inconvenience for the storyteller to help a 76-year-Old Man who had just strolled 12 kilometers along at any rate mostly to wellbeing. Are the Old Man's capitulation to the inevitable and the storyteller's gloom supported? Since this story started as a news dispatch relating an experience Hemingway really had, this inquiry takes on more than scholastic noteworthiness.
    There is one image of expectation in the story. Toward the start of the storyteller's discussion with the Old Man, the feathered creatures the Old Man was caring for were alluded to as "pigeons," yet before the finish of the story, they become "birds," images of harmony in wartime. The storyteller does this switch as he asks, "Did you leave the pigeon confine opened?" The Old Man at The Bridge, It is indistinct whether this is an error of the tongue, in light of the fact that the storyteller is plainly occupied by the looming landing of the adversary, or if Hemingway is endeavoring to give the picture of the feathered creatures taking off a much progressively positive tint by alluding to them as images of harmony.

Mahabharata Summary Notes

Mahabharata Summary Notes

Mahabharata Summary A Modern Translation is an updated translation and reinterpretation of the Sanskrit epic of ancient Indian literature. It is the longest literary work in the world, with one hundred thousand verses. A legendary narrative, it follows the Kurukshetra War and its impact on the Kaurava royal family and the Pandava princes. It takes place over twelve books and includes philosophical and devotional materials, including discussions of the four goals of life. It includes many of the most famous works of Hindu literature, including the Bhagavad Gita, as well as an abbreviated version of the Ramayana. Mahabharata Summary , Although authorship is traditionally attributed to the Hindu sage Vyasa, who is also a major character in the narrative, little is known about its original composition. Exploring themes of responsibility, virtue, truth, the endless battle between order and chaos and good and evil, and the nature of the spirit in Hindu tradition, it is considered one of the most important works of early human literature. Mahabharata: A Modern Translation was widely praised for making it accessible to modern readers, although it was controversial among believers and readers of the original version for some of her interpretations.

Divided into eighteen segments, Mahabharata: A Modern Translation begins with the origins of the families who are the focus of the book. Sauti, a storyteller returning from a sacrifice, relates the story of the sacred texts as he remembers them. It is the tale of the people descended from the ancient emperor Bharata. Shantanu, the king of Hastinapura, is married to the river goddess Ganga. She gives birth to Devata, a wise and strong boy who is the heir to the throne. However, after Ganga dies and returns to godhood, Shantanu marries a woman named Satyavati, who has a son named Vyasa. He promises her that her future son by him will be king. They have two sons, but both die young. Satyavati asks Vyasa to father children with the widows of her dead son, so she’ll maintain her claim to the throne. He does, and one of the widows gives birth to a blind child named Dritharashtra, and her sister gives birth to a pale-skinned child named Pandu. Because of his blindness, Dritharashtra is not eligible to be king, and Pandu becomes king. However, Pandu has been cursed and will die if he lies with a woman. He marries Kunti, who is blessed with exceptional fertility. They have three children—the brave Yudhishthira, the mighty Bhima, and the warrior Arjuna. However, she has a secret fourth child, Karna, whom she had abandoned before getting married.

Madri, Pandu’s second wife, also gives birth to two children, the twins Nakula and Sahadev. These five children become known as the Pandavas. King Pandu dies after mating with Madri, and his blind brother becomes king. The Pandavas marry the same woman, Draupadi, whom they treat as their common wife. Dritharashtra and his wife, Gandhari, have a hundred children, known as the Kauravas, led by the eldest, Duryodhana. The two clans become vicious rivals as the Pandavas win the love of the people with their strength, kindness, and good deeds. The Kauravas are seen as jealous and wicked. Duryodhana teams up with the Pandavas’ jealous half-brother, Karna, along with their uncle Shakuni to drive the Pandavas out of the kingdom. They challenge their rival clan to a game of dice and manage to defeat the Pandavas by cheating. The Pandavas lose everything, including their wife Draupadi, to the Kauravas and are exiled.

The Kauvaras sentence the Pandavas to a twelve-year exile, followed by a year of anonymity and shunning. The Kauvaras, however, don’t plan to let their rivals simply disappear into the countryside. They send many assassins after them and attempt to kill them in exile. However, the Pandavas manage to escape every time, finding refuge with their maternal uncle, Lord Sri Krishna. The thirteen years pass and the Pandavas return to claim their piece of the empire. However, the Kauvaras don’t plan to honor their part of the arrangement. They refuse to surrender the land, leading to the Great War of Kurukshetra. This epic battle takes place in the fields of the Kuru clan and lasts for eighteen days. This episode of the narrative is the basis for the holy Hindu scripture known as the Bhagavad Gita. The Pandavas ultimately triumph, reclaiming the land for their family, but their friends, relatives, and loved ones die in the battle. The narrative ends with a test in heaven, as they are cleansed of their sins and join their brothers who died in battle in the afterlife, as Sauti closes his narrative.

Carole Satyamurti is a British poet, sociologist, and translator who has taught at the University of East London and at the Tavistock Clinic. She runs a poetry program at the National Gallery in London, and is the author of multiple works of poetry, many printed in the Oxford University Press. She is the 1986 winner of the National Poetry Competition and the 2000 winner of the Cholmondeley Award.

Mahabharata Summary , The Mahabharata (compiled between 300 BC and 300 AD) has the honor of being the longest epic in world literature. It consists of 100,000 2-line stanzas (although the most recent critical edition edits this down to about 88,000). This makes it eight times as long as Homer’s Iliad and Odyssey together, and over three times as long as the Bible (Chaitanya vii). According to the Narasimhan version, only about 4000 lines relate to the main story; the rest contain additional myths and teachings. In other words, the Mahabharata resembles a long journey with many side roads and detours. It is said that “Whatever is here is found elsewhere. But whatever is not here is nowhere else.”

The name Mahabharata means “great [story of the] Bharatas.” Bharata was an early ancestor of both the Pandavas and Kauravas who fight each other in a great war, but the word is also used generically for the Indian race, so the Mahabharata sometimes is referred to as “the great story of India.”


PART ONE: THE GAME OF DICE

In the first two books of the Mahabharata, we learn the background of the Bharatas (also called the Kurus) leading up to the conflict between the five sons of Pandu and their cousins the Kauravas. This story is told by the sage Vyasa, whose name came to mean the “compiler.” (Actually, the author of the epic is unknown, probably many authors over centuries.) Vyasa’s mother is Satyavati, whose name means truth, so he is the “son of truth.” In telling his story to a descendant of the Pandavas, Vyasa says, “If you listen carefully, at the end you’ll be someone else” (play). Vyasa appears infrequently throughout the Mahabharata, giving advice and also fathering Pandu and Dhritarashtra.


Ancestors of the Pandavas and Kauravas

Santanu, king of Hastinapura, was married to the beautiful Ganga, who was the river goddess in disguise. She agreed to marry him as long as he never questioned her actions. Over the years they had seven sons, but Ganga threw each one into the river. Santanu was distressed by this strange behavior, but he kept his promise. Finally, when their eighth son was born, Santanu asked his wife who she really was and why she had done this. Ganga revealed herself and told that her children had once been celestial beings, but were cursed to become human. She had ended their “punishment” quickly by drowning them immediately at birth. But since Santanu had questioned her actions, she left him, along with his last son Devarata.

Devarata is better known by his later name Bhishma. He receives this name, which means “of terrible resolve,” after vowing never to marry or have children. His father wanted to marry again (Satyavati, mother of Vyasa), but the conditions of the marriage were that the second wife would be the mother of a king someday. Honoring his father’s wishes, Bhishma makes his vow, guaranteeing that neither he nor a son of his will challenge the claim to the throne.

Mahabharata Summary Years later, one of Bhishma’s half-brothers dies in battle, and the other becomes old enough to marry. On behalf of his half-brother, Bhishma abducts three sisters and fights off all their suitors. On returning home, he learns that one of the sisters, Amba, had already chosen a suitor. Bhishma allows her to leave, but her betrothed does not want her any more. Now abandoned, she returns to Bhishma and demands that he marry her. Ever faithful to his vow, Bhishma refuses. Amba then vows that one day she will kill him, even though the gods have granted Bhishma the power to choose the day of his death, because of his vow.

The importance and power of vows are evident throughout the Mahabharata. Once stated, a vow becomes the truth and must be fulfilled, no matter what else may happen. When his father and both his half-brothers die prematurely without children, Bhishma refuses to marry his step-brother’s widows (Amba’s sisters). He will not relinquish his vow, even though his celibacy makes no difference anymore.


The young princesses must be given children, but who can father them? There are no other men in the family besides Bhishma, and he has renounced women. So Satyavati, the king’s second wife, asks her first-born son, Vyasa the poet, to give children to the two princesses. He goes to them, but the princesses dislike him, for as an ascetic who has taken a vow of poverty, he is filthy and smells. He explains to them that they will each bear a son: however, the first will be born blind because the first princess closed her eyes when seeing him, and the second will be pale-skinned because the second princess became pale at his touch. The blind son is called Dhritarashtra, the pale one is Pandu. Vyasa has a third son Vidura by a handmaiden.

Kunti in the MahabharataSince his brother is blind and thus unfit for the throne, Pandu becomes the new king of Hastinapura. One day while hunting in the forest, Pandu shoots a gazelle in the act of mating. The gazelle was actually a brahmin priest in disguise, who curses him saying that should Pandu make love to either of his two wives (Kunti and Madri), he will die instantly. Knowing he can never have children, Pandu resigns the throne and goes to live with his wives in the mountains.

Kunti, his first wife, informs him that she possesses a magic power. By reciting a secret formula, she can invoke a god at will and have a child by him. The mantra’s power is put to the test, and she gives birth to three sons: Yudhishthira, the first-born, truthful and virtuous, son of the god Dharma; Bhima, the strongest of men, son of Vayu, god of the wind; and Arjuna, an irresistible warrior, son of Indra. Madri, Pandu’s second wife, makes use of this power too. She has twin sons, Nakula and Sahadeva. Thanks to his two wives, Pandu now has five sons directly descended from the gods, the Pandavas, the heroes of the Mahabharata.

Years later, Pandu one day surrenders to his passion for Madri. Fearing for his life, Madri tries to push him away but her struggles only inflame his desire more. Once they make love, Pandu falls dead, fulfilling the curse, and Madri, devoted to him always, joins him on the funeral pyre.

Mahabharata Summary , Meanwhile, Dhritarashtra has become king, despite his blindness. He weds Gandhari in an arranged marriage. When she learns of her husband’s infirmity, she decides to cover her eyes with a blindfold which she will never remove, to join him in his world of darkness. Then, after an abnormally long pregnancy of two years, she gives birth to a ball of flesh. Vyasa tells her to split up the ball into 100 parts and put them in jars of ghee (Indian butter); in this way she becomes the mother of one hundred sons, the Kauravas.

The first born is called Duryodhana. Sinister omens of violence greet his arrival into the world: jackals howl, strong winds blow, fires rage through the city. Dhritarashtra worries about what all this means. Vidura tells him that his first son brings hate and destruction into the world. He will one day destroy their race. Vidura urges the king to get rid of the child, but Dhritarashtra ignores his advice.

Dhritarashtra is a weak ruler. He allows physical blindness to become a refusal to face reality and unwillingness to confront hard decisions, being easily led by Duryodhana in later years. He continually blames fate, excusing his own inaction: “Irrevocable were all the things that have happened. Who could have stopped them? What then can I do? Destiny is surely all-powerful” [KD 69]. But one of Dhritarashtra’s advisors tells him: “O king, surely a man who meets with calamity as a result of his own acts should not blame the gods, destiny, or others. Each of us receives the just results of our actions.” 

Growing Rivalry between the Pandavas and the Kauravas

Bhishma, now an old man, takes the responsibility of raising the two sets of cousins. They fight constantly, and even try to kill each other. One day a teacher and master of arms, Drona, appears and offers his services to train the boys. He has a secret mission: to avenge an insult made by a former friend. When young, Drona was close to Drupada, but years later, when Drona went to see his childhood companion, now a great king, he was scorned by Drupada because “only equals can be friends.” As payment for his training, Drona asks the Pandavas to avenge him. Being mighty warriors, they conquer Drupada’s kingdom, and hand it over to Drona. He promptly gives his former friend half his kingdom back, saying “now we are equals.”

For revenge, Drupada has children by sorcery, born out of flames: son Dhrishtadyumna is fated to kill Drona; an oracle says daughter Draupadi will “bring destruction on an unrighteous ruler;” a third child Sikhandi is Amba reborn.

Mahabharata Summary , Later in the war, Drona and Bhishma will fight on the side of the Kauravas not so much out of loyalty but because their mortal enemies (Dhrishtadyumna and Sikhandi) fight with the Pandavas.

the five Pandavas in the MahabharataDrona recognizes Arjuna’s superiority as a master of arms, especially the bow, and favors him with special training. In a contest of skill, he tells each of the Pandavas to strike a target, the eye of a wooden bird in a tree. He asks each one in turn, “O prince, tell me what you see.” One by one they respond, “I see my teacher, my brothers, the tree and the bird.” Drona tells them, “Then you will not hit the mark.” Arjuna, however, says he sees only the bird, and in fact, only the eye of the bird. Thus, focused on his target alone, he strikes with total accuracy. Drona rewards Arjuna by giving him a supreme weapon, the Brahmasira, only to be used against celestial beings, or else it will destroy the world.

Drona stages a tournament to display all the Pandavas’ skills, but a stranger appears who challenges Arjuna and equals him in archery. This is Karna, who the reader learns is Kunti’s first son by Surya the sun god, whom she bore before she married Pandu and abandoned in a basket on the river (like Moses). Thus Karna is the older brother of the Pandavas. However, Karna does not know his real mother, being raised by a chariot driver. The Pandavas mock his lowly social status and will not fight with someone who is not of royal birth, but their cousin Duryodhana sees the chance to make an ally. Ignoring the strict rules of caste, he says, “Birth is obscure and men are like rivers whose origins are often unknown” (play). Duryodhana gives Karna a small kingdom, and Karna swears eternal friendship to the Kauravas.

Mahabharata Summary , Karna’s lowly caste (social status) will haunt him throughout the Mahabharata. Later at a contest to win Draupadi as a bride, she rejects him outright because he is from a servant family. For a person who desires to be measured by his accomplishments, living under this shadow is unbearable.

As the child of the sun, Karna was born with golden armor over his skin. Later, the god Indra tricks Karna into giving this divine protection away.

After Karna was born, Kunti remained a virgin

The Pandavas narrowly escape a plot by Duryodhana to burn them in a house made of highly flammable materials. For months afterward, they live in hiding in the forest. One night as Bhima keeps watch while the others sleep, there appears a rakshasa named Hidimbi (a man-eating ogre, one type of demon). Assuming the form of a beautiful woman, she falls madly in love with Bhima, who fights and kills her venomous brother. Bhima and the magical creature then have a powerful demon child called Ghatotkatcha; he swears to come to the aid of his father whenever necessary.


Arjuna wins the hand of Draupadi

Mahabharata Summary The Pandavas attend the swayamvara of Draupadi, a ceremony where she will pick her husband from a number of suitors. Arjuna wins the archery contest easily and Draupadi chooses him. When Arjuna announces to his mother that he has won the “prize,” Kunti tells him to share with his brothers, before seeing Draupadi. Like an irrevocable vow, her statement, even by mistake, can’t be undone, so all five brothers marry Draupadi, the daughter of Drupada.

This unusual marriage fulfills karma, for in her former life, Draupadi had prayed to the god Shiva for a husband five times, and thus is rewarded for her devotion in this life. In the Mahabharata Shiva is not the “destroyer” of the later Puranas, but has more to do with blessings of fertility: he also granted Gandhari her 100 sons. (see notes on Shiva and the other gods)

The brothers agree to respect the privacy of each other when with Draupadi, but one day Arjuna enters the tent to retrieve his weapons and finds Yudhishthira and Draupadi in bed together. Even though Yudhishthira forgives him, Arjuna insists on keeping the vow. As penance, Arjuna goes into exile for a year; while away he marries three other wives, one Krishna’s sister, mostly for political alliances.

As tension mounts between the cousins, Krishna makes his appearance. It is said he may be an incarnation of the god Vishnu, the preserver, come down to save the earth from chaos. The appearance of Krishna introduces a major theme in the Mahabharata: dharma (cosmic order) menaced by chaos, so Krishna must step in, indicating that this is not just a family rivalry, but a conflict with universal consequences.

In the medieval Puranas, the story developed that Vishnu had appeared on earth nine times in the past as an avatar or incarnation, in order to set the world back on the right path, and would appear again at the end of the age. (more on Vishnu)

Krishna’s deification in the Mahabharata may be based on later interpolations into the text, as there is considerable tension in the epic between the depiction of the divine Krishna and the human prince who acts as counselor to the Pandavas, gives devious advice, and eventually dies.

On Krishna’s advice the Pandavas present themselves to the blind king. To make peace, Dhritarashtra offers them half the kingdom, but in a region which was nothing but jungle and desert. Yudhishthira accepts his offer in the hope of averting a war.

Meanwhile, Arjuna and Krishna agree to assist a hungry brahmin, who reveals himself to be Agni, god of fire. He wants to consume a nearby forest which is protected by Indra’s rain. Agni rewards Krishna with his discus and Arjuna with Varuna’s bow Gandiva along with an inexhaustible supply of arrows. With these he is able to create a canopy of arrows to keep the rain from putting out Agni’s fire. Even Indra cannot defeat Arjuna, because Krishna is with him (an indication of Vishnu’s superiority over Indra by this time). Maya (not god of illusion but an asura or demon who escaped the fires) out of gratitude builds the great hall of Indraprastha.

Living in their new territory of Indraprastha, Yudhishthira turns poor land into a wealthy kingdom, and declares himself King of Kings. Duryodhana is jealous and humiliated on his visit to the magnificent palace, where he mistakes a glass floor for a pool, then later falls into a pool thinking it is glass. Draupadi and Bhima laugh at him. He returns home bent on devising their destruction.


The Dice Game and the Humiliation of Draupadi

Mahabharata Summary Duryodhana follows the advice of his uncle, the cunning Shakuni, an infamous dice player, and invites Yudhishthira to a game, knowing full well that gambling is his cousin’s one weakness. Yudhishthira accepts.

Duryodhana is not an original thinker, always relying on other’s ideas. His uncle gave him the idea for the arson and the dice game. Later during the war Duryodhana suggests capturing Yudhishthira and playing another game, which Drona calls stupid.

Duryodhana always threatens to commit suicide when things don’t go his way (almost comical): “Excessive self-centeredness leads to unrealistic demands and unreasonable expectations from life” (Chaitanya 67).

Kunti: “Duryodhana is a blind man’s son, living blindly.” (play)

Draupadi disrobed in the MahabharataBoth Dhritarashtra and Yudhishthira ignore Vidura’s warning to avoid the game, leaving the results to “supreme and unavoidable” fate. Krishna warns Bhishma not to interfere with the dice game: “If your race must be destroyed to save dharma, would you allow it?” (play) Told by his father that a warrior’s dharma is to fight honorably, not to win at all costs, Duryodhana says,  “The way of the warrior is fixed on victory, whether there’s dharma or adharma on his way.”

Carried away by the intoxication of the game, Yudhishthira wagers and loses all that he possesses: his lands, his kingdom, his brothers, even himself, and eventually Draupadi, who is dragged before the company by her hair, a special insult since a married woman’s hair was sacred.

She challenges the Kauravas with a question: how can someone who has lost himself wager someone else in a game, but no one can answer her. Even Bhishma is confounded: “The ways of dharma are subtle.” When even the wise Bhishma cannot resolve the question, she says, “I think time is out of joint. The ancient eternal dharma is lost among the Kauravas.” Instead, they insult her, displaying her during the time of her period. Karna, still stinging from his rejection at the swayamvara, calls her a harlot who services five men. Duryodhana seeks to entice her by uncovering his thigh (obscene in that culture). Enraged at this treatment of his wife, Bhima vows that he will one day drink Duhsasana’s blood and break Duryodhana’s thigh.

Draupadi is about to be stripped naked when she invokes Krishna, who comes to her rescue and creates an endless supply of cloth around her. She swears that one day she will be avenged. There will be a great war, a war without mercy. At her curse a jackal howls. Frightened, Dhritarashtra apologizes to her and gives her husbands’ back everything they lost, but Draupadi asks nothing for herself, saying, “Greed devours all beings and is dharma’s [righteousness] ruin. I refuse greed.” (CN 55)

Mahabharata Summary Seeing his advantage given away, Duryodhana insists on one more throw of the dice. Yudhishthira agrees to a final game, but once again, he loses. The Pandavas and Draupadi are condemned to spend twelve years in exile in the forest, and a thirteenth year in an unknown place, disguised so that no one may recognize them. If anyone does, then they must spend another twelve years in exile.


PART TWO: EXILE

Books 3-5 tell of the twelve years of living in the forest, preceding the great war. The Pandavas are not alone in the wilderness but are followed by many loyal brahmins and servants. The gods give them an inexhaustible plate of food to feed all of them.

Throughout the Mahabharata, the importance of brahmins, the priestly caste, is emphasized. Yudhishthira wants to regain his kingdom so that he can provide for 10,000 brahmins. One must never refuse a brahmin anything (see the incident between Karna and Indra below).


The Importance of Dharma

Draupadi and Bhima reproach Yudhishthira for his inaction and resigned passivity. Since it is obvious that Shakuni cheated at dice, wouldn’t it be better to stand up and fight? Yudhishthira flatly refuses. He will keep his word: he resolves to follow his dharma. Dharma (variously translated as social duty, righteousness, or universal order) is the moral obligation which each human being should recognize and follow. Failure to do so could endanger the course of the cosmos as a whole.

Draupadi cannot understand why they are suffering so, if they are the righteous ones. If everything happens by the will of god, then why do the good suffer? It seems only the powerful escape harm, not the righteous. Yudhishthira corrects her: “None should ever perform virtue with a desire to gain its fruits. Such a sinful trader of virtue will never reap the results. … Do not doubt virtue because you do not see its results. Without doubt, the fruits of virtue will be manifest in time, as will the fruits of sin. The fruits of true virtue are eternal and indestructible”


Preparations for War

Arjuna then leaves, aiming for the highest mountains to look for the celestial weapons they will need during the war. He meets the god Shiva who gives him powerful weapons. Arjuna then spends five years with his father the divine Indra learning to use the weapons fighting demons.

Mahabharata Summary Meanwhile Karna decides he too must acquire a celestial weapon, so for many months he serves a powerful brahmin, Parasurama, who hates warriors. As a reward, he bestows upon Karna, whom he takes to be a servant, a formula for the supreme weapon. But Karna reveals himself to be a warrior by an excess of bravery, as he does not cry out when a worm bores a hole into his thigh. Parasurama curses him so he will forget the secret formula at the moment he wishes for the weapon, and that will be the moment of his death.


In the Medieval Puranas, Parasurama becomes one of the avatars of Vishnu, but there is no indication of that aspect in the Mahabharata.

Karna later meets Indra (Arjuna’s divine father) in the disguise of a brahmin. Having sworn never to refuse a brahmin’s request, he agrees to surrender his divine covering of golden armor given him at birth. He tears off the armor from his skin, bleeding, and trades it for another mighty weapon, which will kill any being but can only be used once.

During their exile, the Pandavas rescue Duryodhana who is captured during battle, to his great humiliation. Honor bids him swear to repay Arjuna one day. Mahabharata Summary ,  Duryodhana is so depressed after his rescue that he intends to kill himself. The Danavas (a family of demons) need him as their champion (he was born at their request) and appear before him. The demons promise they will possess his armies during the coming war, which will continue to give him false hope.

One day, four of the Pandavas are killed by drinking the water from a poisonous lake. However Yudhishthira brings his brothers back to life by correctly answering the questions which Dharma, disguised as a crane, puts to him.


The Thirteenth Year

According to the conditions of the game of dice, the thirteenth year which the Pandavas are to spend in disguise has now arrived. Yudhishthira (who presents himself as a poor brahmin), his brothers and Draupadi (who pass for wandering servants) all find refuge at the court of King Virata. Kicaka, a general in Virata’s court becomes infatuated with Draupadi. He goes to great lengths to possess her, even threatening her life. Draupadi implores the mighty Bhima to help her; dressed in woman’s clothes, he goes in her stead to a secret rendezvous, and pulverizes the over-amorous general into a bloody mass of flesh.

Meanwhile Duryodhana has launched an attack on Virata’s kingdom. The king entrusts his troops to his young son who needs a chariot driver. Draupadi, who seeks war with the Kauravas at all costs, points out Arjuna as the world’s best charioteer, despite the fact that he has disguised himself as a eunuch. Arjuna cannot refuse to fight and is decisively victorious, one man against countless armies.

War draws even closer. Duryodhana refuses to give his cousins back their kingdom because he claims they came out of hiding before the appointed time. He tries to win Krishna’s support, as does Arjuna. Krishna offers Arjuna first choice: either he can have all of Krishna’s armies, or he can have Krishna alone. Arjuna chooses Krishna, allowing Duryodhana to have the armies. When Arjuna asks him to drive his chariot, Krishna accepts.

Mahabharata Summary In the Kaurava court, the blind king also senses the imminence of war. He asks the elderly Bhishma, an unparalleled warrior, to take the supreme command. His duty to the family outweighs his feelings toward the Pandavas, and he reluctantly accepts, but on one condition: that Karna does not fight. Although displeased, Karna bitterly agrees to fight only after Bhishma’s death.

Dhritarashtra sends an envoy to Yudhishthira and begs not to fight since he loves righteousness. It would be better to live without his kingdom than risk the lives of so many. Yudhishthira responds that each caste has its own duty, and his is to be a warrior/king, not a brahmin/beggar. However, even he has reservations: “War is evil in any form. To the dead, victory and defeat are the same” (CN 101).

Krishna arrives as an emissary in a final attempt to safeguard peace. He speaks to Duryodhana who does not listen to him, but orders his guards to seize him. Krishna reveals his divine form: “Krishna laughed and as he did, his body suddenly flashed like lightning. He began to grow in size and various gods issued from him. Brahma sprang from his forehead and Shiva from his chest” (KD 492). Krishna allows even the blind Dhritarashtra to see his glory. Finally, he speaks to Karna, going so far as to reveal that he is the brother of those with whom he intends to fight. But Karna feels abandoned by his mother in his very first hours of life; furthermore he senses the end of this world. He will fight alongside the Kauravas, even though he can already foresee their defeat and his own death.


Duryodhana will not listen to warnings. He convinces himself that since the gods had not blessed the Pandavas thus far, they would not protect them during the war. “I can sacrifice my life, my wealth, my kingdom, my everything, but I can never live in peace with the Pandavas. I will not surrender to them even as much land as can be pierced by the point of a needle” (KD 453). He makes excuses for his nature: “I am whatever the gods have made me” (KD 482).


PART THREE: THE WAR

Books 5-10 of the Mahabharata recount the 18-day war between the Pandavas and the Kauravas.

The Kauravas have eleven divisions to stand against the seven of the Pandavas. The two armies are described as two oceans, crashing against each other. Briefly it’s described as a “beautiful sight” (CN 125-6). Kunti tells the narrator Vyasa (in play): “You find too much beauty in men’s death. Blood decorates your poem, and the cries of the dying are your music.”

Bad omens appear prior to battle as thousands of carrion birds gather “crying in glee”. Karna prophesies that his side will lose, that this is nothing but “a great sacrifice of arms” with Krishna as high priest.

Both sides agree to abide by certain rules of war: no fighting humans with celestial weapons, no fighting at night, do not strike someone who’s retreating or unarmed, or on the back or legs. All these rules will eventually be broken.


The Bhagavad Gita (“The Lord’s Song”)

Mahabharata Summary Just as the battle is about to start, Arjuna falters at the sight of his relatives and teachers, now his sworn enemies. He breaks down and refuses to fight. “How can any good come from killing one’s own relatives? What value is victory if all our friends and loved ones are killed? … We will be overcome by sin if we slay such aggressors. Our proper duty is surely to forgive them. Even if they have lost sight of dharma due to greed, we ourselves should not forget dharma in the same way.” 

Arjuna fears that acting out his own dharma as warrior will conflict with universal dharma: how can killing family members be good, and not disrupt the social order? Herein lies an unresolved conflict in Hinduism between universal dharma and svadharma (an individual’s duty according to caste and station in life). A warrior must kill to fulfill his duty, whereas a brahmin must avoid harming any living creature. Even demons have their own castes and svadharma, which may run counter to human morality. One person’s dharma may be another’s sin. This doctrine distinguishes Hindu thought from religions such as Judeo-Christianity and Islam which teach universal or absolute moral codes.

His charioteer Krishna addresses him as they pause in the no-man’s land between the two armies. This passage is the celebrated Bhagavad Gita, the guide to firm and resolute action. This section of teaching is the spiritual heart of the Mahabharata.

Unlike many epic heroes, at this point Arjuna thinks before he acts. Arjuna hesitates before such killing, wanting to retreat from life and responsibility (tension between dharma and moksha), but Krishna tells him as a warrior it’s his dharma to fight. The real conflict today is with the self on the “battlefield of the soul.

Don’t worry about death, which is only one small step in the great and endless cycle of life. One neither kills or is killed. The soul merely casts off old bodies and enters new ones, just as a person changes garments. Death is only illusion (maya).

How does a warrior perform his duty without doing wrong, polluting himself with the blood of his enemies? The secret is detachment: do your duty without concern for the personal consequences. “Victory and defeat, pleasure and pain are all the same. Act, but don’t reflect on the fruits of the act. Forget desire, seek detachment.” (play)

Vishnu in the MahabharataWe must always do what is right without desiring success or fearing defeat. “Work without desire for the results, and thus without entangling yourself in karmic reactions.” (KD 550) Krishna tells Arjuna that good deeds will not get one to heaven if the desire for heaven is the sole motivation for good deeds. Desire is responsible for rebirth; if any desire remains when we die, we must return to another life.

Likewise, Yudhishthira told Draupadi during the exile that he performs dharma not for reward but because it is what a good person does; after the battle he has a similar crisis when he temporarily refuses to rule, despairing at all the carnage he has caused.

“Actions performed under the direct guidance of the Supreme Lord or His representative are called akarma. This type of activity produces neither good nor bad reactions. Just as a soldier may kill under the command of his superior officer and not be held responsible for murder, though if he kills on his own accord he is liable for punishment, similarly, a Krishna-conscious person acts under the Lord’s direction and not for his own sake.” (BG as it is: online)

“Such a person takes no delight in sensual pleasures. He is ever satisfied within himself. No miseries can disturb him, nor any kind of material happiness. He is without attachment, fear and anger, and remains always aloof to the dualities of the world. … His mind is fixed upon the Supreme and he is always peaceful.” (KD 551)

There are two paths to liberation: renunciation (moksha) and performing one’s duty without desire. Since no one can truly renounce all action in life (this is a pretense of asceticism), it is better to work without attachment (KD 551). Some scholars think that the Bhagavad Gita was composed to combat a religious challenge from Jainism and Buddhism which arose in the 6th century BC, both teaching salvation through renouncing the world, the former by asceticism, the latter by monastic life (Kinsley 31).

Mahabharata Summary Krishna explains that the knowledge he imparts is ancient, just as he told it millions of years ago. Arjuna asks, “How can I accept this? It appears that you were born in this world only recently.” Krishna explains, birth too is an illusion, as men are born countless times. But in Krishna’s case, he comes into every age: “Whenever righteousness (dharma) becomes lax, O Arjuna, and injustice (adharma) arises, then I send myself forth to protect the good and bring evildoers to destruction. For the secure establishment of dharma, I come into being age after age. … I was born to destroy the destroyers.”

Krishna then reveals his divine, universal nature to Arjuna in a magnificent vision of a multitude of gods, stretching out to infinity. Resolved now to perform his duty to his lord, Arjuna leads his troops into battle.

For more information, see Bhagavad Gita as it is

On a hill overlooking the battlefield, Dhritarashtra hears the words of Krishna through his aid Sanjaya, who has been granted the ability to see and hear everything that happens in the battle, to relate these things to the blind king. Dhritarashtra shudders when he hears of Krishna’s theophany, fearing that nothing can stop the Pandavas with such a powerful being on their side. But he takes some comfort in knowing that Krishna cannot accomplish everything he wants, as he failed to arrange a peaceful solution to the conflict.

Before the battle, Yudhishthira goes to both his teachers, Bhishma and Drona: “O invincible one, I bow to you. We will fight with you. Please grant us your permission and give us your blessing.” For this sign of respect, both men pray for the Pandavas’ victory, even though they must out of loyalty fight on the side of the Kauravas.


The Battle Begins

Bhishma compares the invincible Arjuna to “the Destroyer himself at the end of the Yuga” (CN 126). In one confrontation, Arjuna splits Bhishma’s bow with four arrows, and Bhishma praises him: “O son of Pandu, well done! I am pleased with you for this wonderful feat.  Now fight your hardest with me” (KD 581). However, he is unable to overcome Bhishma. After nine days of fighting, the Pandavas visit Bhishma by night; they tell him that, unless he is killed in the war, the carnage will carry on until the end of the world.

When asked how he can be defeated, he advises them to place Sikhandi in the front line, from where he will be able to fire freely at Bhishma. Sikhandi is actually a woman, Amba whom Bhishma had refused to marry and who vowed to be his death. Amba practiced asceticism, standing on one toe in the snow for 12 years to learn the secret of Bhishma’s death. Amba threw herself into the fire and was reborn from flames as Drupada’s second daughter, later changing sex with a demon to become a man

Mahabharata Summary, The next day, confronted by Sikhandi, Bhishma refuses to fight a woman, and he abandons his weapons. Against the rules of war, the Pandavas strike the unarmed warrior with thousands of arrows. There is no space on his body thicker than two fingers that is not pierced. He falls from his chariot, and lies fully supported by the arrows, with no part of his body touching the earth. Bhishma does not actually die until much later, at his choosing. He remains lying on a bed of arrows until the end of the battle.


Drona takes command

Drona positions the armies in a formation known only to him, the iron disc of war, which nobody knows how to break open, apart from Arjuna. If only Arjuna can be diverted away from the central battle, Drona promises victory. Arjuna has a 15-year old son, Abhimanyu, who, by listening to his father while still in his mother’s womb, has learned to force an entry into Drona’s battle formation. As Arjuna is called to a diversionary battle far away, Yudhishthira entrusts Abhimanyu with the task of opening a breach in the disc. Abhimanyu succeeds, but when Bhima and Yudhishthira try to follow him into the opening, they are stopped by Jayadratha, a brother-in-law to the Kauravas, and the breach closes behind the young Abhimanyu. In spite of his bravery, he is killed.

Earlier during the time of exile, Jayadratha had tried to kidnap Draupadi, thus another reason for the Pandavas to hate him.

At this point Arjuna returns to the camp. Inflamed with rage and grief at the sight of his son’s body, he vows to kill Jayadratha before sunset on the following day. He solemnly swears to throw himself into the sacrificial fire, should he fail. Even Krishna is alarmed by this terrible oath. On the next day, Jayadratha is heavily guarded, and Arjuna is unable to reach him. Mahabharata Summary , Krishna causes a momentary eclipse of the sun, convincing the enemy that, since night has come, Arjuna must have killed himself because he hasn’t kept his vow. Rejoicing, they lay down their arms, leaving Jayadratha vulnerable to Arjuna’s arrow.

Krishna drives chariot in the Mahabharata Jayadratha’s father had pronounced a curse on anyone who killed his son, saying that whoever caused his son’s head to fall to the ground would die. Using magical mantras, Arjuna causes his arrow not only to sever Jayadratha’s head, but to carry it miles away to fall into his father’s lap. Being in prayer, he doesn’t realize what’s happened; he stands up and the head falls, thus he dies from his own curse.

The following day, Karna hurls himself into the battle. Kunti tries to persuade him to join the Pandavas, but Karna is inflexible. However, he does promise Kunti that he will only kill Arjuna, for one of them must die. In this way, she will still have five sons after the war.

Karna possesses a magic lance, the gift of Indra, which will kill any living being but can be used only once. He keeps it in reserve for Arjuna. To dispose of this lance, Krishna calls upon Ghatotkatcha, son of Bhima and the rakshasa. During the night, he fights an epic battle against Karna, who can destroy the demon only by resorting to his magic lance. Ghatotkatcha is killed, but Krishna dances for joy. With his lance now expended, Karna is vulnerable and Arjuna can kill him.

Drona continues to challenge the Pandava armies, slaying thousands. But the Pandavas know his weakness: the love of his only son Ashvatthama. Bhima slays an elephant, also called Ashvatthama, then deceitfully tells Drona of the death of his son. Suspecting a lie, Drona asks Yudhishthira for the truth: is his son dead or not? Drona will lay down his arms the day an honest man lies. Krishna tells Yudhishthira: “Under such circumstances, falsehood is preferable to truth. By telling a lie to save a life, one is not touched by sin” (CN 157). Yudhishthira speaks a half-lie, “Ashvatthama – (and muttering under his breath) the elephant – is dead.” Before his lie, Yudhishthira’s chariot rode four inches off the ground, but now it sinks back to earth. Drona lays down his arms. Drupada’s son Dhrishtadyumna cuts off Drona’s head, having sworn to avenge his father’s humiliation.


Meanwhile Bhima sees Duhsasana coming towards him. Bhima had sworn to drink the blood of this avowed enemy for what he had done to Draupadi. Bhima knocks Duhsasana to the ground with his mace and rips open his chest. He drinks his blood, saying that it tastes better than his mother’s milk. Bhima, who kills many Rakshasa (and has a son by one), often acts like the man-eating ogres himself—the bloody deaths of Kicaka and Duhsasana, both to avenge Draupadi; Bhima is her most passionate defender. Bhima kills most of the 100 Kauravas, who were demons incarnate.


The Death of Karna

Duryodhana asks Karna to avenge his brother Duhsasana, and he finally meets Arjuna in the decisive confrontation.

Arjuna and Karna both have celestial weapons (for example, one shoots arrows of fire to be quenched by arrows of water). Karna has an arrow possessed by a Naga (serpent) spirit who holds a grudge against Arjuna (his family had died in the forest consumed by Agni). When Karna shoots at Arjuna, his charioteer warns him that his aim is too high, but he refuses to listen, and hits Arjuna’s coronet only. When the spirit-possessed arrow returns to him and says try again, this time he will not miss, Karna won’t admit failure by shooting the same arrow twice, even if he could kill 100 Arjunas.


As the fight continues, the earth opens up and seizes Karna’s chariot wheel, in fulfillment of a curse. In desperation, Karna tries to invoke his ultimate weapon, but the magic words escape him. He remembers Parasurama’s words: “When you life depends on your most powerful weapon, you will not be able to summon it.” In his last moments, Karna questions his beliefs: “Knowers of dharma have always said, ‘Dharma protects those devoted to dharma.’ But since my wheel sank today, I think dharma does not always protect”. As he struggles to release his chariot, he cries out to Arjuna: “Do not strike an unarmed man. Wait until I can extract my wheel. You are a virtuous warrior. Remember the codes of war.” But Krishna taunts him: “Men in distress always call on virtue, forgetting their own evil deeds. Where was your virtue, O Karna, when Draupadi was brought weeping in the Kuru assembly? Where was it when Yudhishthira was robbed of his kingdom?” (KD 780) Karna’s head sinks to his chest, and he remains silent, while continuing to struggle with the chariot wheel. Krishna commands Arjuna to shoot, and Karna dies. A bright light rises out of Karna’s body and enters the sun.


Stubborn but loyal, Karna could have been king, as eldest of the Pandavas, but he remained with the Kauravas. He always fights fair, and keeps his promise to Kunti not to kill any brothers but Arjuna. Their rivalry echoes the mythic conflict between their divine fathers Indra and Surya.


The Death of Duryodhana

Over the eighteen-day war, Duryodhana has seen his generals and their armies fall to the Pandavas, but to the very end he refuses to surrender. He hides in the waters of a lake, which he has solidified over him by magic. Ever the gambler, Yudhishthira tells Duryodhana that he can fight any brother he chooses, and if he wins, the kingdom will be his again. It says something of Duryodhana that he fights with Bhima rather than one of the weaker brothers. In a close battle between equals, Bhima wins only by treacherously striking Duryodhana on the legs, forbidden in the rules of war. Gandhari had put a protective spell over Duryodhana’s body, but because he wore a loin cloth for modesty before his mother, his thighs were not protected.


Duryodhana accuses Krishna of taking sides unfairly and encouraging Bhima’s treachery. Krishna responds: “Deceit in battle is acceptable against a deceitful foe. Even Indra used deceit to overcome the mighty asuras Virochana and Vritra.” An onlooker remarks, “Bhima has sacrificed dharma for the sake of material gain. This can never lead to success and happiness.” Krishna replies that Bhima was merely keeping his earlier vow, a sacred duty: “There is no unrighteousness in Bhima. He has carried out his promise and requited the debt he owed his enemy. Know that the terrible age of Kali is at hand, marked by fierce acts and the loss of dharma.”

Duryodhana responds bravely: “I am now dying a glorious death. That end which is always sought by virtuous warriors is mine. Who is as fortunate as me? With all my brothers I will ascend to heaven, while you Pandavas will remain here, torn by grief and continuing to suffer.” (KD 816)

As Duryodhana lies dying, Ashvatthama, Drona’s son, tells him how he sneaked into the camp of the victorious Pandavas at night to perpetrate a hideous massacre, killing the remaining warriors and all the children while asleep, leaving the Pandavas without any heirs. Rather than welcoming the news, Duryodhana dies disheartened that the race of the Kurus appears to have no future.

Thus all those on both sides die in the war, except the five Pandavas. When Yudhishthira learns of the massacre, he mourns: “We the conquerors have been conquered.”

When the Pandavas seek revenge, Ashvatthama launches the most fearsome celestial weapon in his arsenal. Arjuna counters with his own weapon, which Drona taught both of them; it was only to be used against divine beings, or else it could destroy the world. Ashvatthama deflects his into the wombs of the remaining Pandava women, making them sterile, but Krishna promises that Arjuna will nonetheless have descendants. As punishment, Ashvatthama is cursed to wander the earth in exile for 3000 years.

Bhishma in the MahabharataAfter the war, when Krishna exits the chariot, it bursts into flames; only his presence kept the celestial weapons from destroying it earlier. Krishna reveals that the gods allowed this war to relieve Earth of her great burden (similar to Troy). Duryodhana was the incarnation of Kali, lord of the 4th age.

Mahabharata Summary Yudhishthira reports the death toll at six million. Appalled at such losses, he has a personal crisis similar to Arjuna before the battle. He doesn’t want to rule because it requires the use of force and more violence. He sees that life itself is painful, as men are always searching for more material wealth and power, never satisfied. The man who prizes gold and dirt equally is happiest. The others convince him he must rule and fulfill his duty.

Yudhishthira has a vision of the age to come: “I see the coming of another age, where barbaric kings rule over a vicious, broken world; where puny, fearful, hard men live tiny lives, white hair at sixteen, copulating with animals, their women perfect whores, making love with greedy mouths. The cows dry, trees stunted, no more flowers, no more purity; ambition, corruption, the age of Kali, the black time” (play).

Mahabharata Summary - Bhima asks, why has he come this far only to quit, like a man climbing a honey tree but refusing to taste it, or a man in bed with a woman but refusing to make love? Draupadi questions his manhood, as only eunuchs seek tranquility and avoid violence. Arjuna says refusing to rule will only cause more disorder and create for him great amount of bad karma to face in next life of lowly birth. We should accept our role depending on where we are in life: a father has obligation to his family while they are young, likewise a king must first rule, then in the last years of life he may abandon the world, but to do so earlier would be an act of selfishness.

In his dying speech, pierced by many arrows, Bhishma tells Yudhishthira that in the fourth age (our present age), “dharma becomes adharma and adharma, dharma.” Somewhat paradoxically, he continues, “If one fights against trickery, one should oppose him with trickery. But if one fights lawfully, one should check him with dharma … One should conquer evil with good. Death by dharma is better than victory by evil deeds.”

Bhishma’s dying advice to Yudhishthira lasts 50 days and covers two of the longest books in the Mahabharata (12-13); some of the topics:

Mahabharata Summary “There is no duty higher than Truth,” but five falsehoods are not sinful: lying in jest, lying to a woman, lying at a wedding, lying to save a teacher, lying to save one’s life.

The foremost duty of kings is to revere Brahmins.

“No creature is more sinful than woman; women are the root of all evil; she is poison, she is a snake, she is fire,” but at the same time, “Righteousness of men depends on women. All pleasures and enjoyments depend on women.”

Cows constitute the stairs that lead to heaven; cows are goddesses able to grant every wish; nothing in the world superior; one should never go to bed or rise in the morning without reciting the names of cows.” Cows provide cleansing from sin. “There is nothing unattainable for one who is devoted to cows” (this goes on for about 50 pages).

1000 names of Vishnu (26 pages)

Shortly after, Arjuna tells Krishna that he has forgotten his teaching (contained in the Bhagavad Gita) so for 36 chapters this advice is repeated.

Now that all her sons are dead, Gandhari’s eyes are so charged with grief that, by looking under her blindfold, her emotion sears the flesh of Yudhishthira’s foot. She curses Krishna, whom she holds responsible for all of the tragedy that has befallen them: the Pandava kingdom will fall in 36 years. Even Krishna will die; he shall be killed by a passing stranger. Krishna calmly accepts this curse, then tells her that a light has been saved, even if she cannot see it. Yudhishthira agrees to reign.

Dhritarashtra has one son by another wife who survives the war. Yuyutsu chose to fight on the side of the Pandavas, deciding to follow dharma rather than loyalty to his family. After the war, out of gratitude Yudhishthira makes Yuyutsu king of his old territory Indraprastha.

Mahabharata Summary Thirty-six years pass, and Yudhishthira arrives at the entrance to paradise, carrying a dog in his arms. His brothers and Draupadi, who left the earth with him, have fallen from the mountains into the abyss along the way. A gatekeeper tells him to abandon the dog if he wants to enter paradise. He refuses to leave a creature so faithful, and is permitted to enter, for this was a test, the dog was the god Dharma in disguise. In paradise, further surprises await him. His enemies are there, smiling and contented. His brothers and Draupadi, on the other hand, seem to be in a place of suffering and torment. Why? Yudhishthira decides to stay with his loved ones in hell, rather than enjoy the delights of heaven with his enemies. This too was a test, the “final illusion.” They are all permitted to enter paradise.

Mahabharata Summary In Hindu thought, neither heaven (svarga) or hell are eternal, but only intervals between rebirths. Everyone must first spend some time in hell (or a hell, as there are many) to pay for the sins of the most recent life. Yudhishthira had to experience hell for only a moment, because of his lie to Drona. Heaven is obtained by good deeds, but only for a limited time until the accumulated merit runs out.