Translated by BIBEK DEBROY
THE MARKANDEYA PURANA
PENGUIN BOOKS
Contents
Introduction
The Markandeya Purana
Footnotes
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
Chapter 55
Chapter 56
Chapter 58
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64
Chapter 65
Chapter 66
Chapter 67
Chapter 68
Chapter 69
Chapter 70
Chapter 71
Chapter 72
Chapter 73
Chapter 74
Chapter 75
Chapter 76
Chapter 77
Chapter 78
Chapter 79
Chapter 80
Chapter 81
Chapter 82
Chapter 84
Chapter 85
Chapter 86
Chapter 87
Chapter 88
Chapter 89
Chapter 90
Chapter 91
Chapter 93
Chapter 94
Chapter 96
Chapter 97
Chapter 98
Chapter 99
Chapter 100
Chapter 101
Chapter 102
Chapter 103
Chapter 104
Chapter 105
Chapter 106
Chapter 108
Chapter 110
Chapter 111
Chapter 112
Chapter 113
Chapter 114
Chapter 115
Chapter 116
Chapter 117
Chapter 118
Chapter 119
Chapter 120
Chapter 121
Chapter 122
Chapter 123
Chapter 124
Chapter 125
Chapter 126
Chapter 128
Chapter 129
Chapter 130
Chapter 131
Chapter 132
Chapter 133
Chapter 134
Acknowledgements
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Copyright
PENGUIN BOOKS
THE MARKANDEYA PURANA
Bibek Debroy is a renowned economist, scholar and translator. He has worked in universities, research institutes, industry and for the government. He has widely published books, papers and articles on economics. As a translator, he is best known for his magnificent rendition of the Mahabharata in ten volumes, the three-volume translation of the Valmiki Ramayana and additionally the Harivamsha, published to wide acclaim by Penguin Classics. He is also the author of Sarama and Her Children, which splices his interest in Hinduism with his love for dogs. Most recently, he translated the Bhagavata Purana for Penguin Classics.
Praise for The Mahabharata
‘The modernization of language is visible, it’s easier on the mind, through expressions that are somewhat familiar. The detailing of the story is intact, the varying tempo maintained, with no deviations from the original. The short introduction reflects a brilliant mind. For those who passionately love the Mahabharata and want to explore it to its depths, Debroy’s translation offers great promise . . .’—Hindustan Times
‘[Debroy] has really carved out a niche for himself in crafting and presenting a translation of the Mahabharata . . . The book takes us on a great journey with admirable ease’—Indian Express
‘The first thing that appeals to one is the simplicity with which Debroy has been able to express himself and infuse the right kind of meanings . . . Considering that Sanskrit is not the simplest of languages to translate a text from, Debroy exhibits his deep understanding and appreciation of the medium’—The Hindu
‘Debroy’s lucid and nuanced retelling of the original makes the masterpiece even more enjoyably accessible’—Open
‘The quality of translation is excellent. The lucid language makes it a pleasure to read the various stories, digressions and parables’—Tribune
‘Extremely well-organized, and has a substantial and helpful Introduction, plot summaries and notes. The volume is a beautiful example of a well thought-out layout which makes for much easier reading’—Book Review
‘The dispassionate vision [Debroy] brings to this endeavour will surely earn him merit in the three worlds’—Mail Today
‘Debroy’s is not the only English translation available in the market, but where he scores and others fail is that his is the closest rendering of the original text in modern English without unduly complicating the readers’ understanding of the epic’—Business Standard
‘The brilliance of Ved Vyasa comes through, ably translated by Bibek Debroy’—Hindustan Times
Praise for The Valmiki Ramayana
‘It is a delight to read Bibek Debroy’s translation of the Valmiki Ramayana. It’s like Lord Ram has blessed Dr Debroy, and through him, blessed us with another vehicle to read His immortal story’—Amish Tripathi
‘Bibek Debroy’s translation of the Ramayana is easy to navigate . . . It is an effort for which Debroy deserves unqualified praise’—Business Standard
‘A nuanced translation of a beloved epic . . . There is much to recommend this three volume set that can renew our interest in the Ramayana, surely one of the greatest stories ever told’—Indian Express
Praise for The Bhagavata Purana
‘An exhaustive but accessible translation of a crucial mythological text’—Indian Express
‘The beauty of recounting these stories lies in the manner in which the cosmic significance and the temporal implications are intermingled. Debroy’s easy translation makes that experience even more sublime’—Business Standard
‘The Puranas are 18 volumes with more than four lakh shlokas, and all in Sanskrit—the language of our ancestors and the sages, which only a few can speak and read today and only a handful have the mastery to translate. Bibek Debroy is one such master translator, who wears the twin title of economist and Sanskrit scholar, doing equal justice to both’—Outlook
For Uma Banerjee
Introduction
The word ‘purana’ means
old, ancient. The Puranas are old texts, usually referred to in conjunction with Itihasa (the Ramayana and the Mahabharata). 1 Whether Itihasa originally meant only the Mahabharata, with the Ramayana being added to that expression later, is a proposition on which there has been some discussion. But that’s not relevant for our purposes. In the Chandogya Upanishad, there is an instance of the sage Narada approaching the sage Sanatkumara for instruction. Asked about what he already knows, Narada says he knows Itihasa and Purana, the Fifth Veda. 2 In other words, Itihasa–Purana possessed an elevated status. This by no means implies that the word ‘purana’, as used in these two Upanishads and other texts too, is to be understood in the sense of the word being applied to a set of texts known as the Puranas today. The Valmiki Ramayana is believed to have been composed by Valmiki and the Mahabharata by Krishna Dvaipayana Vedavyasa. After composing the Mahabharata, Krishna Dvaipayana Vedavyasa is believed to have composed the Puranas. The use of the word composed immediately indicates that Itihasa–Purana are ‘smriti’ texts, with a human origin. They are not ‘shruti’ texts, with a divine origin. Composition does not mean these texts were rendered into writing. Instead, there was a process of oral transmission, with inevitable noise in the transmission and distribution process. Writing came much later.
Frederick Eden Pargiter’s book on the Puranas is still one of the best introductions to this corpus. 3 To explain the composition and transmission process, one can do no better than to quote him. ‘The Vayu and Padma Puranas tell us how ancient genealogies, tales and ballads were preserved, namely, by the sutas, 4 and they describe the suta’s duty . . . The Vayu, Brahmanda and Visnu give an account, how the original Purana came into existence . . . Those three Puranas say—Krsna Dvaipayana divided the single Veda into four and arranged them, and so was called Vyasa. He entrusted them to his four disciples, one to each, namely Paila, Vaisampayana, Jaimini and Sumantu. Then with tales, anecdotes, songs and lore that had come down from the ages he compiled a Purana, and taught it and the Itihasa to his fifth disciple, the suta Romaharsana or Lomaharsana . . . After that he composed the Mahabharata. The epic itself implies that the Purana preceded it . . . As explained above, the sutas had from remote times preserved the genealogies of gods, rishis and kings, and traditions and ballads about celebrated men, that is, exactly the material—tales, songs and ancient lore—out of which the Purana was constructed. Whether or not Vyasa composed the original Purana or superintended its compilation, is immaterial for the present purpose . . . After the original Purana was composed, by Vyasa as is said, his disciple Romaharsana taught it to his son Ugrasravas, and Ugrasravas the sauti 5 appears as the reciter in some of the present Puranas; and the sutas still retained the right to recite it for their livelihood. But, as stated above, Romaharsana taught it to his six disciples, at least five of whom were brahmans. It thus passed into the hands of brahmans, and their appropriation and development of it increased in the course of time, as the Purana grew into many Puranas, as Sanskrit learning became peculiarly the province of the brahmans, and as new and frankly sectarian Puranas were composed.’ Pargiter cited reasons for his belief that the Mahabharata was composed after the original Purana, though that runs contrary to the popular perception about the Mahabharata having been composed before the Puranas. That popular and linear perception is too simplistic, since texts evolved in parallel, not necessarily sequentially.
In popular perception, Krishna Dvaipayana Vedavyasa composed the Mahabharata. He then composed the Puranas. Alternatively, he composed an original core Purana text, which has been lost, and others embellished it through additions. The adjective ‘purana’, meaning old account or old text, became a proper noun, signifying a specific text. To be classified as a Purana, a Purana has to possess five attributes—pancha lakshmana. That is, five topics must be discussed—sarga, pratisarga, vamsha, manvantara and vamshanucharita. The clearest statement of this is in the Matsya Purana. Unlike the Ramayana and the Mahabharata, there is no Critical Edition of the Puranas. 6 Therefore, citing chapter and verse from a Purana text is somewhat more difficult, since verse, if not chapter, may vary from text to text. With that caveat, the relevant shloka (verse) should be in the fifty-third chapter of the Matysa Purana. Sarga means the original or primary creation. The converse of sarga is universal destruction, or pralaya. That period of sarga lasts for one of Brahma’s days, known as kalpa. When Brahma sleeps, during his night, there is universal destruction.
In measuring time, there is the notion of a yuga (era) and there are four yugas—satya yuga (also known as krita yuga), treta yuga, dvapara yuga and kali yuga. Satya yuga lasts for 4,000 years, treta yuga for 3,000 years, dvapara yuga for 2,000 years and kali yuga for 1,000 years. However, all these are not human years. The gods have a different timescale and these are the years of the gods. As one progressively moves from satya yuga to kali yuga, virtue (dharma) declines. But at the end of kali yuga, the cycle begins afresh, with satya yuga. An entire cycle, from satya yuga to kali yuga, is known as a mahayuga (great era). However, a mahayuga is not just 10,000 years. There is a further complication. At the beginning and the end of every yuga, there are some additional years. These additional years are 400 for satya yuga, 300 for treta yuga, 200 for dvapara yuga and 100 for kali yuga. A mahayuga thus has 12,000 years, adding years both at the beginning and at the end. 1,000 mahayugas make up one kalpa (eon), a single day for Brahma. A kalpa is also divided into fourteen manvantaras, a manvantara being a period during which a Manu presides and rules over creation. Therefore, there are 71.4 mahayugas in a manvantara. Our present kalpa is known as the Shveta Varaha Kalpa. Within that, six Manus have come and gone. Their names are (1) Svyambhuva Manu, (2) Svarochisha Manu, (3) Uttama Manu, (4) Tapasa Manu, (5) Raivata Manu and (6) Chakshusha Manu. The present Manu is known as Vaivasvata Manu. Vivasvat, also written as Vivasvan, is the name of Surya, the sun god. Vaivasvata Manu has that name because he is Surya’s son. Not only do Manus change from one manvantara to another, so do the gods, the ruler of the gods and the seven great sages, known as the saptarshis (seven rishis). Indra is a title of the ruler of the gods. It is not a proper name. The present Indra is Purandara. However, in a different manvantara, someone else will hold the title. In the present seventh manvantara, known as Vaivasvata manvantara, there will also be 71.4 mahayugas. We are in the twenty-eighth of these. Since a different Vedavyasa performs that task of classifying and collating the Vedas in every mahayuga, Krishna Dvaipayana Vedavyasa is the twenty-eighth in that series. Just so that it is clear, Vedavyasa isn’t a proper name. It is a title conferred on someone who collates and classifies the Vedas. There have been twenty-seven who have held the title of Vedavyasa before him and he is the twenty-eighth. His proper name is Krishna Dvaipayana, Krishna because he was dark and Dvaipayna because he was born on an island (dvipa). This gives us an idea of what the topic of manvantara is about. This still leaves pratisarga, vamsha and vamshanucharita. The two famous dynasties/lineages were the solar dynasty (surya vamsha) and lunar dynasty (chandra vamsha) and all the famous kings belonged to one or other of these two dynasties. Vamshanucharita is about these lineages and the conduct of these kings. There were the gods and rishis too, not always born through a process of physical procreation. Their lineages are described under the heading of vamsha. Finally, within that cycle of primary creation and destruction, there are smaller and secondary cycles of creation and destruction. That’s the domain of pratisarga. In greater or lesser degree, all the Puranas cover these five topics, some more than the others.
There are Puranas, and there are Puranas. Some are known as Sthala Puranas, describing the greatness and sanctity of a specific geographical place. Some are known as Upa-Puranas, minor Puranas. The listing of Upa-Puranas has regional variations and there is no countrywide consensus about the list of Upa-Puranas, though it is often accepted that there are eighteen. The Puranas we have in mind are known as Maha-Puranas, major Puranas. Henceforth, when we use the word Puranas, we mean Maha-Puranas. There is consensus that
there are eighteen Maha-Puranas, though it is not obvious that this number of eighteen existed right from the beginning. The names are mentioned in several of these texts, including a shloka that follows the shloka cited from the Matsya Purana. The listing is also included in the last sections of the Bhagavata Purana itself. Thus, the eighteen Puranas are (1) Agni (15,400); (2) Bhagavata (18,000); (3) Brahma (10,000); (4) Brahmanda (12,000); (5) Brahmavaivarta (18,000); (6) Garuda (19,000); (7) Kurma (17,000); (8) Linga (11,000); (9) Markandeya (9,000); (10) Matsya (14,000); (11) Narada (25,000); (12) Padma (55,000); (13) Shiva (24,000); (14) Skanda (81,100); (15) Vamana (10,000); (16) Varaha (24,000); (17) Vayu (24,000); and (18) Vishnu (23,000). A few additional points about this list. First, the Harivamsha is sometimes loosely described as a Purana, but strictly speaking, it is not a Purana. It is more like an addendum to the Mahabharata. Second, Bhavishya (14,500) is sometimes mentioned, with Vayu excised from the list. However, the Vayu Purana exhibits many more Purana characteristics than the Bhavishya Purana does. There are references to a Bhavishyat Purana that existed, but that may not necessarily be the Bhavishya Purana as we know it today. That’s true of some other Puranas too. Texts have been completely restructured hundreds of years later. Third, it is not just a question of Bhavishya Purana and Vayu Purana. In the lists given in some Puranas, Vayu is part of the eighteen, but Agni is knocked out. In some others, Narasimha and Vayu are included, but Brahmanda and Garuda are knocked out. Fourth, when a list is given, the order also indicates some notion of priority or importance. Since that varies from text to text, our listing is simply alphabetical, according to the English alphabet. In its listing of Puranas given in the last chapter (Chapter 134), the Markandeya Purana tells us that it is seventh in the list of Puranas.
The numbers within brackets indicate the number of shlokas each of these Puranas has, or is believed to have. The range is from 9,000 in Markandeya to a mammoth 81,100 in Skanda. The aggregate is a colossal 409,500 shlokas. To convey a rough idea of the orders of magnitude, the Mahabharata has, or is believed to have, 100,000 shlokas. It’s a bit difficult to convert a shloka into word counts in English, especially because Sanskrit words have a slightly different structure. However, as a very crude approximation, one shloka is roughly twenty words. Thus, 100,000 shlokas become 2 million words and 400,000 shlokas, four times the size of the Mahabharata, amounts to 8 million words. There is a reason for using the expression ‘is believed to have’, as opposed to ‘has’. Rendering into writing is of later vintage, the initial process was one of oral transmission. In the process, many texts have been lost, or are retained in imperfect condition. This is true of texts in general and is also specifically true of Itihasa and Puranas. The Critical Edition of the Mahabharata, mentioned earlier, no longer possesses 100,000 shlokas. Including the Harivamsha, there are around 80,000 shlokas. The Critical Edition of the Mahabharata has of course deliberately excised some shlokas. For the Puranas, there is no counterpart of Critical Editions. However, whichever edition of the Puranas one chooses, the number of shlokas in that specific Purana will be smaller than the numbers given above. Either those many shlokas did not originally exist, or they have been lost. This is the right place to mention that a reading of the Puranas assumes a basic degree of familiarity with the Valmiki Ramayana and the Mahabharata, more the latter than the former. Without that familiarity, one will often fail to appreciate the context completely. More than passing familiarity with the Bhagavadgita, strictly speaking a part of the Mahabharata, helps. 7