Venmurasu (Tamil: வெண்முரசுVeṇmuracu; transl. Sacred Proclamation) is a Tamil novel by writer Jeyamohan. It is a modern renarration of the Indian classical epic Mahābhārata.
With a length of 26 volumes and 22,400 pages, Venmurasu ranks among the longest novels published in any language.[2] Jeyamohan stated that he began writing the work in January 2014, and announced plans to continue writing it every day over ten years. The book was completed in 2020, spanning 26 volumes and 26,000 pages.[3][4]
Venmurasu was written as a series of books following the linear style of the Mahābhārata. The novel has been published as both a Collector's edition and Paperback edition.
Background
Jeyamohan says that he was influenced by the Kathakali renderings of the Mahābhārata, and that its portrayals of characters like Duryodhana and the angst-ridden life of Karna, left a deep impression on him during his childhood.[5][6]
As he grew up and traveled India, Jeyamohan watched and read the various adaptations of the Mahābhārata and its universal influence on the culture and language across all regions of India. He delved deep into the work of Vyasa and followed the path of the epic as it was told and retold over the works of thousands of authors, singers, and performers into the twentieth century. He says that the epic grew with him and helped him chart the path of his life as a writer. The Bhagavad Gita had a deep influence on his worldview and he continued to explore its meanings under Guru Nitya Chaitanya Yati.[7]
In the late 1980s and 1990s, Jeyamohan wrote many short stories based on the Mahābhārata, including the Thisaigalin Naduve and Padma Vyugam. He later wrote a series of essays on the Gita on his website. Jeyamohan also continued to build upon decades of personal research for his ongoing work on the Indian thriller movie, Asokavanam.
On the night of Christmas 2013, Jeyamohan was conversing with his children about the classic drama Mahābhārata when his daughter Chaitanya requested he write it all himself. With just an outline in his mind and trusting his instinct, Jeyamohan decided to start the immense project that would stretch over the next decade. For each novel, a new chapter is posted daily on his website.[8]
Style
Jeyamohan has described Venmurasu as a modern novel based on the Mahābhārata, and not just a retelling of the story in modern idiom. Venmurasu is guided by the storyline of the epic and the dynamics of the Indian Puranic tradition, but as a work of literature composed in the twenty-first century, it assumes its own form and aesthetics that place it in a modern context. Nested storylines, intertextuality and fantasy woven with deep archetypes and allegory provide a distinctly post-modern texture to the novel which Jeyamohan prefers to term as 'Puranic Realism'.[1][9]
Venmurasu approximately follows the Mahābhārata on a linear narrative, but the many episodes are distinctly non-linear. While the Mahābhārata is traditionally narrated as 18 Parvas, Venmurasu breaks it into a series of novels, each self-contained with a plot and storyline, but remaining inter-connected with each other. Stories that are mere bylines and footnotes in the traditional Mahābhārata assume giant proportions in Venmurasu and become central to the plot development across generations. Over its course, Venmurasu taps into Vyasa's original work, the Srimad Bhagavata, the Devi Bhagavata, and a variety of other folk sources from India and abroad.[10]
Venmurasu is distinct in its approach to re-narrating the epic. First, rather than simply re-telling Mahābhārata, the author weaves Indian thought into the novel's narrative structure. By this, India's philosophical, cultural, and geographic landscape during the time of Mahābhārata gets deeply embedded into the book. Second, unlike many other contemporary re-narrations of Mahābhārata, Venmurasu does not attempt to invert, negate, or transgress the original story and the characters. Neither does it try to focus on one particular character at the expense of other characters. Rather, the novel fills the narrative gaps and expands upon the original story through establishing intense dramatic moments and exploring the inner profile of various characters. For example, Vichitravirya — a minor character in the original narrative — is expanded upon in a full-blown manner. Third, Venmurasu's narration has the sensibilities of a contemporary novelist. The novel's narrative complexity and literary style have drawn comparisons to works such as the Odyssey, Iliad, and Kamba Ramayana, as well as modern literary epics.[11]
For instance, in a nod to the great oral storytelling traditions of India, many of the stories in Venmurasu are narrated by Sūtas, the travelling bards. Through their words and trances, the characters assume mythical dimensions and find their place in the common dream of the author and the reader. In each of its books, Venmurasu adopts a distinctive genre and style that is based on the storyline.[12] The imagery, symbolism and language varies as the plots sweep across the vastness of ancient India and follow multitudes of characters. It incorporates myths and legends from various Indian traditions while drawing from Vyasa's epic themes and narrative style.[13]
Theme
While conventional Mahābhārata narratives have reduced it to the proverbial battle between good and evil, Venmurasu presents a multi-layered and complex re-narration. At the same time, it stays away from modern interpretations that focus narrowly on a few characters. As a modern epic, Venmurasu spans vast timelines and characters, reflecting the epic scale of its source material.
Within the innumerous folds of Mahābhārata's drama, Jeyamohan finds scope to explore and describe the philosophical narrative of Indian thought. In his own words, Venmurasu "is a classical work that possesses density and depth, but leaves enough space for discerning readers to fill with their imagination".[14]
Outline
Venmurasu is written as a series of books, each with its storyline and distinctive style.
The first book, Mudharkanal (First Spark), (Tamil: முதற்கனல்), creates the bookends for Venmurasu as is. It starts with the story of Asthika and Vyasa as a prelude to Janamejaya's Sarpa yagna, and ends with the liberation of Daksha by Asthika. In between, Mudharkanal travels back generations in time and builds the story of Asthinapuri, Shantanu and his empress Satyavathi, Bheeshmar, Ambai, Shikhandi, Vichitraveeryan, Chitrangadan, Ambikai and Ambalikai.
The second book, Mazhaippadal (Rain Song), (Tamil: மழைப்பாடல்), describes the stories of Ambikai and Ambalikai, their sons Dhritarashtran and Pandu, and then traces the rise of Gandhari and Kunti. The plot sweeps across Asthinapuri, the North-Western kingdom of Gandhara and the Yadava lands. Mazhaippadal is as much a story of the conflict between the adversarial communities and tribes of ancient India as the one between the women of Asthinapuri - which ultimately develops into the great Bharata war.
The third book, Vannakkadal (Ocean of Colors), (Tamil: வண்ணக்கடல்), describes the childhood and youth of Kaurava and Pandava princes growing up together in Asthinapuri. Vannakadal also follows the backstory of Dronacharya and his becoming the Guru of Asthinapuri's princes. In parallel, the novel follows the journey of Ilanagan, a young bard from South India who travels towards Asthinapuri and encounters the many cultures and philosophies of the great land.
The fourth book, Neelam (Blue), (Tamil: நீலம்),is the story of Krishna and Radha. At once romantic and lyrical, it describes Krishna through Radha's eyes and develops the archetypes underlying the Advaita philosophies. Neelam also follows the story of Kamsa, who was slain by Krishna.
The fifth book, Prayagai (Confluence), (Tamil: பிரயாகை), is the story of Draupadi's birth, youth and marriage with the Pandavas. In parallel, it describes the rise of Krishna and his city of Dwaraka.[15]
The sixth book, Venmugil Nagaram (The City of White Clouds), (Tamil: வெண்முகில் நகரம்), describes the background stories that led to the development of Indrprastha, the city of Pandavas. Its axis is Draupadi, The novel begins with her coming to Asthinapuri as the Queen and ends at the point when she orders the Indraprastha to be built. The novel's main foreground characters are Bhurishravas and Satyaki. While they played minor parts in the Mahābhārata, Venmugil Nagaram expands them in great detail. It describes their lands, their clans, their politics, and, through it all, the subtle depth of their relationship.[15]
The seventh book, Indraneelam (Blue Sapphire), (Tamil: இந்திரநீலம்), is the story of the love of Krishna's eight wives and their marriage to him. The locus of the story is the Syamantaka gem, the proverbial carnival form of Krishna. It tempts and teases the psyche of everyone around him, it originates and ends within him. Most of the story is told as seen through the eyes of Dhrishtadyumnan, the prince of Panjala who visits Dwarakai and his friendship with Satyaki.[15]
The eighth book, Kaandepam (The Bow), (Tamil: காண்டீபம்) is the story of Arjuna's travels during his exile from Indraprastha and his marriages. It is also the story of his inner travels as he stumbles through and understands his relationship to his queens and his bow. Kaandeepam weaves in the story of Arishtanemi (based on JainTirthankaras) and juxtaposes it against Arjuna's story. Arjuna discovers the courage of non-violence and his own path as a Karma Yogi.[15]
The ninth book, Veiyon (The Sun), (Tamil: வெய்யோன்), is the story of Karna, the tragic first-born of Kunti. By this time, Karna has become the celebrated king of Anga and attained his own place in Duryodhanan's camp yet his heart is not at rest. The Kauravas are invited to the Indraprastha for the town consecration ceremony where Karna encounters Kunti's overtures. As incidents propel the worsening of the relationship between the cousins, Karna finds his own calling.[15]
The tenth book, Panniru Padaikkalam (Battlefield of Twelve Signs), (Tamil: பன்னிரு படைக்களம்), tells the story of the Rajasuya ritual held by Pandavas in Indraprastha and the incidents leading to Draupadi's arrival at Asthinapuri, and the slayings of Jarasandhan, Sisupalan, and Draupadi vastraharan.[16]
The eleventh book, Solvalarkaadu (Forest of Growing Words), (Tamil: சொல்வளர்காடு), tells the story of Pandavas when in exile. Their travel to various philosophical schools of India and the discussion of different vedic topics are told.[17]
The twelfth book, Kiratham, (Tamil: கிராதம்), describes Arjuna's travels to gain weapons from Shiva and the Gods of the Directions. The novel vividly describes Arjuna's adventures over the four Devas (Yama, Kubera, Varuna & Indra) and the final gaining of Pashupatastra from Shiva, and also portrays the darker side and an inner turmoil of Krishna in parallel.
The thirteenth book, Maamalar, (Tamil: மாமலர்), describes Bhima's travels to get the Kalyana Sauganthika flower for Draupadi. In parallel, stories of Devayani, Ashokasundari, Tara and Jayanthi are told. The meeting of Hanuman is also told.
The fourteenth book, Neerkkolam (Tamil: நீர்க்கோலம்), describes Pandava's exile in Virata Kingdom. In parallel, Nala's story is also told.
The fifteenth book, EzhuThazhal (Tamil: எழுதழல்), describes the discussions before the war. Banasura's story told.
The sixteenth book, Kuruthicharal (Tamil: குருதிச்சாரல்), describes the events when Krishna meets Kauravas multiple times as an ambassador.
The seventeenth book, Imaikkanam (Tamil: இமைக்கணம்), explains the various chapters of Bhagavad Gita in Novel form. Krishna is in Naimisaranya. Yama meets him by taking various forms (as Bhishma, Karna, Draupadi, Vidura, Yudhishthira, Arjuna & Vyasa) and brings doubts to him. Krishna clarifies by explaining the Bhagavad Gita.
The eighteenth book, Senna Vengai (Tamil: செந்நா வேங்கை), describes the preparation and starting of the Kurukshetra War
The nineteenth book, Thisaither Vellam (Tamil: திசைதேர் வெள்ளம்), describes the rise and till fall of the Bhishma in the Kurukshetra War (10 days).
The twentieth book, Kaarkadal (Tamil: கார்கடல்), describes Karna taking the place of Bhishma and the death of Abhimanyu, Kadothkaja, and Dhronacharya
The twenty-first book, Irutkani (Tamil: இருட்கனி), describes Karna heading the Kaurava army until his death.
The twenty-second book, Theein Edai (Tamil: தீயின் எடை), describes the end of Dhuriyodhana, the end of the war, and the killing of the sons of Pandava.
The twenty-third book, Neerchudar (Tamil: நீர்ச்சுடர்), describes the funeral rituals for those killed in the war. There is a duel between Arjunan and Ashwathaman, and the parents of Kauravas, Kunthi and Vidhurar are exiled.
The twenty-fourth book, Kalittriyaanai Nirai (Tamil: களிற்றியானை நிரை), details the resurrection of Hastinapur under Pandava's rule and their undertaking of Ashvamedha yagna.[18]
The twenty-fifth book, Kalporusirunurai (Tamil: கல்பொருசிறுநுரை), talks about the fall of Dvārakā. It paints the demolition of Dvārakā due to natural causes and insatiable ego and resulting arrogance of those who think they are the rightful rulers of the kingdom after several clashes between clans and war for the throne. It shows the Yadava's getting completely wiped out and the death of Krishna who detaches himself from all this.[19]
The twenty-sixth book, Muthalaavin (Tamil: முதலாவிண்), chronicles Pandava's ascent to heaven after the young Parikshit is given the throne with Yuyutsu managing the kingdom.[20]
Development and release
Reception
Venmurasu was met with positive responses among readers of Tamil literature across the world. Noted writers Indira Parthasarathy[21] and A Muttulingam[22] have praised Venmurasu for its intricate descriptions, poetic depth and classic dynamics. Writer and orator Marabinmaindan Muthiah has written a series of essays titled 'Vyasa Manam' introducing the finer aspects of Venmurasu.[23] Filmmakers Mani Ratnam, Vasanthabalan, Mysskin and Seenu Ramasamy have expressed their appreciation of the lyrical beauty and visuals.[24][25] Critic and reviewer Suresh Venkatadri writes a series of reviews on Venmurasu at the online magazine Solvanam.[26][15][16] Suresh Venkatadri also wrote a comparative review of Neelam and Krishna Krishna by Indira Parthasarathy.[27] Editor and critic K N Sivaraman of Tamil magazine Kungumam called Venmurasu "a world class achievement".[28]
