Viral Porecha

Assistant Professor, Nopany Group of Institutes, Kolkata, India

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Abstract: Epic literature has been one of the most ancient forms of literature. However, with passage of time in the modern age, the conventions of epic literature have changed considerably, thereby giving an innovative and extraordinary angle to the form, structure and stylistic features of epic. This paper explores the epic conventions that Rajamouli’s movie Baahubali exhibits drawing similarities with the Indian epics, The Ramayana and The Mahabharata.

Keywords: Film Studies, Indian Epics, Epic Conventions

I

An epic is one of the oldest forms of literature that is usually narrated through various generations following the oral tradition. An epic is conventionally described as “long narrative poem recounting heroic deeds” of a grand hero who exudes extraordinary characteristics that is composed in an elevated style. (Britannica) However, the definition and conventions of epic have undergone various changes and alterations ever since. A modernised definition of ‘epic’ is provided by the online Cambridge dictionary that an ‘epic’ is “a film, poem, or book that is long and contains a lot of action, usually dealing with a historical subject”, which clearly specifies that ‘epics’ are not restricted to printed works of literature but by extension, even movies can exhibit epic conventions. (Cambridge Dictionary)

Unlike the conventional narrative technique of primary epics that were uttered first and written later, modern epics are usually written first. An ‘epic’ exhibits various conventions like the ‘in medias res’, invocation to the Muse, a grandiose style, statement of the epic theme, stunning magniloquence of the epic hero, deus ex machina, epic digressions, hero idealizing the value of the civilization, epic similes, epic games and epic battles, ‘ekphrasis’, ‘katabasis’ to name a few. These conventions are fully explored in the Indian epics, The Ramayana and The Mahabharata. In the modern age, however, ‘epics’ do not strictly adhere to these conventions, thereby conferring a new definition to it without tampering with its grand and elevated style. The movie Baahubali (hereafter referred to as Baahubali without bifurcating the movie), also showcases several similarities with the Indian epics.

II

The movie Baahubali begins in medias res where the spectators are unable to grasp the identity of Shivgami, who is injured with an arrow shot in her shoulder and is carrying in her arms the baby, Mahendra Baahubali, struggling for survival against a few soldiers. (Rajamouli)The invocation to the Muse was a fundamental feature of the classical epics of Homer, Virgil, Milton and oriental playwrights of Ved Vyas and Valmiki. The need of the poet for inspiration while beginning on a long and arduous literary journey of composing an epic is exhibited in the invocation. Since Baahubali is a Bollywood movie and Ganesha is the first-worshipped God of Indians, Rajamouli chose Ganesha as the Muse and not the traditional Indian Muse, Goddess Saraswati, in his movie, and the second part of the cinema opens with the grand scene of Baahubali along with Ganesha’s magnanimous idol. (Rajamouli, Baahubali 2: The Conclusion)

The Indian Epics The Mahabharata and The Ramayana have traced the trajectory of three royal generations. In The Mahabharata, the emphasis chiefly lays upon the dynasty of Bharata- the first lineage- Devratha/Bhishma, the second lineage-Pandu, Dhritarashtra and Vidur and the third lineage- the Pandavas and the Kauravas and their ancestral strife. In The Ramayana, the epic traces the trajectory of the life of King Dasharatha, Rama and Luv-Kush. Similar to the ancient Indian epics, Baahubali also focuses upon three generations-Bijjaldeva and Shivgami, Bhallaldeva and Baahubali and finally Mahendra Baahubali.

Etymology and nomenclature has played an impressive role in the movie Baahubali that are inspired by a variety of sources, including Sanskrit, Telugu, and Tamil languages. ‘Bhallaladeva’ is derived from the Sanskrit word "Bhallala," which means "strong" or "mighty" and "deva" indicates "god" or "ruler." Like Duryodhana, Bhallaldeva too acts as an antagonistic villain who manifests strength and might. Similarly, ‘Sivagami’ is a combination of the Sanskrit word "Shiva" and "gami" which means "to come." Metaphorically, the name ‘Shivgami’ reminds the spectators of Gandhari from The Mahabharata, who was an ardent Shiva devotee. ‘Bijjaladeva’ (Bhallaldeva’s father) is derived from the Telugu word "bijjala," which means "lightning" wherein the character of ‘Bijjaldeva’ unleashes immense havoc and disturbance in the movie. Though there is no ‘deus ex machina’ in the movie but the name ‘Devasena’ translates as “the army of the gods”. Devasena ensures to maintain the spirit of revenge and divine retribution intact in the movie. She is shown to indulge in the ceaseless activity of gathering twigs and worn-out branches to create a funeral pyre for the tormentor, Bhallaldeva. (Quora)

In The Mahabharata, Dhritarashtra was blind. In Baahubali, Bijjaldeva is shown to be crippled. Also, the entry of the epic hero, Baahubali in Baahubali is unravelled in a grandiose portrayal. Rama, in his youth had killed Taraka. Bheema and Arjuna had performed heroic feats after the house of lacquer was set ablaze. Bheema killed Bakasura whereby the latter had tormented the Brahmin family. Baahubali is shown to tame the destructive elephant at the beginning of the movie and prevents the feet of Shivgami from stopping during the auspicious festival of ‘Rakshas Dahan’. He later proves to be victorious in the battle against the Pindaris and protects the Kuntala kingdom.

In the Indian epics, the epic hero is also considered identical to God. This is clearly witnessed in the case of Rama from The Ramayana and to a certain extent in Arjuna from The Mahabharata. Arjuna and Krishna are often referred to as Nara-Narayana in The Mahabharata and are considered reincarnations of Nara and Narayana respectively, according to the Devi Bhagavata Purana. (The Mahabharata, Book1: Adi Parva, Section I) Similarly, in Baahubali, during the occasion of ‘Gopika Purnima’, while the song ‘Soja Zara’ is played, the protagonist, the portrayal of Baahubali is equivalent to God. When Devasena showers flowers on Krishna’s idol, Baahubali is also showered with flowers falling from the trees. When she sprinkles essential oil on the idol, a pigeon splashes Baahubali’s face with wet feathers that brings a smile on his face. When Devasena performs the Hindu ritual of worshipping the idol of Krishna by showing the ‘aarti’ to dedicate the warmth to the deity, an intense log of burning wood is also seen to confer warmth to the protagonist, Baahubali.

Indian epics have showcased an initial resentment among the dignitaries who do not readily accept the marriage of the hero and the heroine. Lord Parshurama was infuriated with Rama since the latter had broken the revered Shiva-bow in the contest to win Sita’s hand in marriage. In The Mahabharata, the warriors who had assembled to wed Draupadi in the kingdom of Panchala got infuriated against her since she chose to get married to a Brahmin (Arjun disguised) instead of a Kshatriya. In Baahubali, Shivgami’s bubble of illusion is pricked when Devasena proceeds to walk towards her prospective husband, Baahubali and not Bhallaldeva. Thereafter, two choices are offered to Baahubali from which he could select any one in order to resolve the hovering confusion. The first choice was to rule over Mahishmathi as the king and the second was marriage with Devasena. This scene is also reminiscent of the two vital conditions that shaped the destiny of the epic heroes and heroines in the Indian epics. In The Ramayana, the two unforgettable conditions of Kaikeyi placed before Dasharatha as two boons were Bharata’s coronation and the king of Ayodhya and Rama’s banishment and exile for fourteen years in the forest. In The Mahabharata, the Pandavas adhered to the two conditions of living in exile for twelve years and living in anonymity for one year.

Intrigue has always been the bedrocks of the plots of Indian epics. Intrigue is very prominent in The Mahabharata, Paradise Lost, Iliad but is mild in The Ramayana. In the Indian epics, conspiracy is mostly plotted for succession of throne. Shakuni, Duryodhana and Dushasana’s intrigue against the Pandavas was grave and malicious. Manthara in The Ramayana instigates Kaikeyi to reserve the throne of Ayodhya for Bharata. In Rajamouli’s Baahubali, Bijjaldeva and Bhallaldeva plan a vicious plot to rule over the throne of Mahishmathi. The father and the son ensnare Kumara Varma, Devasena’s brother-in-law and kill him when the latter is falsely provoked to release Mahishmathi from the tyrannical authority of Bhalladeva. Their over-arching vice proves to be detrimental to Shivgami’s life whereby Bhallaldeva commits a matricide and kills the former by shooting her with an arrow.

The character of Devasena is quite enchanting and impressive. She resembles Draupadi from The Mahabharata. Like Draupadi, she is exceedingly salacious and fiery who is a warrior-girl. When Shivgami sends Bhallaldeva’s sword and precious gifts and sends a proposal for Devasena to tie the nuptial bond with her son, Bhallaldeva, Devasena rejects it giving incredible reasons that stun everyone. When Shivgami’s messenger arrives at the Kuntala kingdom with innumerable gold presents and precious stones as gifts in exchange of Devasena, the latter questions the messenger bluntly, “Are only you and the Queen Mother like this or is everyone in your kingdom a replica of you all?” She further snubs the minister by saying that she does not get allured by the jewellery sent by the Royal Queen. Devasena sends back the priceless jewellery and her sword to Shivgami with an audacious and derogatory suggestion of adorning Bhallaldeva with the ornaments, getting married to Devasena’s regal sword and thereby, abide by the matrilineal marriage, residing as a son-in-law in Kuntala kingdom. Her tone resonates with Draupadi’s disparagement of Karna as a prospective suitor in her ‘swayamvara’ by impudently addressing him as a ‘Sutaputra’. Despite the fact that Karna was a capable archer who successfully lifted the bow consecrated by Lord Shiva, Draupadi rejected him, which Dhrupada did not object. Devasena’s autonomy to reject Bhallaldeva was also not objected to by her brother, Jayavarma in Baahubali.

Devasena’s stature is heroic and magnificent. Like Draupadi, who was courageous enough to take a shelter in the battlefield which was not a convention for the warrior ladies; Devasena too efficiently fights against the Pindari soldiers with a bow and arrows. She does not lock herself in a room with other women. Like Draupadi who questioned the dignitaries about the protection of women’s honour and modesty valorously in the assembly after she was dragged to the courtroom by Dushasana, Devasena too is not just chivalrous but she also exudes sufficient wit to blame Shivgami of deciding Bhallaldeva as Devasena’s prospective husband without seeking her consent.

A subtle parallel can be drawn between Sita and Devasena when the epic heroines have to endure struggles during their pregnancy. Rama deserted Sita when she had conceived and she resorted to the hermitage of Valmiki. When Devasena gets pregnant, Sethupati attempts to molest her and then she chops off Sethupati’s fingers. She is later handcuffed and put through a rigorous trial. She questions Bhallaldeva about the credibility of the judiciary and constitution of Mahishmathi by asking, “I am handcuffed before it is proven that I have committed a crime. Is this even justice?” Devasena and Baahubali are then ostracised from Mahishmathi since Baahubali beheaded Sethupati and did not wait for the regal orders given by Bhallaldeva.

Banishment to exile in forest forms another major motif of the Indian epics. During the tenure of banishment, the epic hero abdicates the royal and leisurely life of the palace and performs mundane tasks of the common people by helping them out. Rama, Sita and Lakshmana spent fourteen years in forest after being banished from Ayodhya and the Pandavas also spent twelve years of banishment in the forests and spent one year in anonymity in the kingdom of Virata.

The character of Bhallaldeva is reminiscent of Duryodhana. Like Duryodhana had attempted to overthrow and kill the Pandavas, Bhallaldeva too tried to kill Baahubali but failed in his conspiracy. Duryodhana wished to poison Bheema’s porridge in childhood and later plotted to kill them in the House of Lacquer. Bhallaldeva also sent a servant for killing Baahubali while the latter was in exile. Bhallaldeva also reverberates with the characteristics of Ravana. Though he later captivates Devasena after Baahubali’s death, he tortures her because she insulted him by rejecting his marriage proposal but does not marry her forcibly. Bhallaldeva is shown to be a villainous antagonist who far supersedes Duryodhana in terms of malign, intrigue and disrespecting the elders. In an ecstatic mood, after striking the corpse of Baahubali, Bhallaldeva proudly asserts how he misled and deceived his “fool mother” into believing how apparently Baahubali conspired to kill Bhallaldeva and she ordered the former to be killed as a mark of protecting her son.

Traducement and provocation are implemented by a few characters of the epic. In The Ramayana, Manthara traduces Kaikeyi by apparently advising her to clear the pending boons from Dasharatha. In The Mahabharata, Shakuni traduced Dhritarashtra and Duryodhana in order to execute his selfish motto of liquefying the Kuru clan. Bijjaldeva embodies the roles of both Dhritarashtra and Shakuni, since he is physically crippled as well as maliciously traduces and incites the wrath of Shivgami by saying that Baahubali sent his spy to kill Bhalladeva and showed false wounds laden on Bhallaldeva’s person, whereas in reality, Kumara Varma was deceived to kill Bhallaldeva and in turn, Kumara Varma lost his life in the scuffle.

Indian epics have highlighted on the importance of the role of the maternal uncle. In The Ramayana, Bharata was with Kaikeyi’s brother, Yudhajit, in the kingdom of Kaikeya when Rama was sentenced to banishment. Crucial events take place due to actions performed by Shakuni and Shalya in The Mahabharata. Despite being the maternal uncle of the Pandavas, Shayla betrayed them by fighting on behalf of the Kauravas in the battle. Though Kattappa is not a consanguine maternal uncle of Baahubali, he has been addressed as “Maama” by the latter. Kattappa also exhibits strong overtones of Bhishma as well as Shalya from The Mahabharata who serves Mahishmathi with unparalleled devotion and loyalty. Like Bhishma, Kattappa too is shown to remain a bachelor though he is not shown to vow celibacy unlike the former. Despite knowing that Pandavas were righteous, Bhishma fought from the side of the Kauravas. Similarly, Kattappa betrayed Baahubali and killed him unethically upon the orders of Shivgami.

Rajamouli’s creation of the aftermath of Baahubali’s death is unforgettable. When Kattappa returns after executing the royal order, his hands are shown to be daubed and smeared in Baahubali’s blood. Though the scene reminds the viewers of the episode of Bheema bringing a palm of Dushasana’s blood to Draupadi, in Baahubali 2 the scene seethes in irony and pathos. In moments of distress, wrath, fury and guilt, Kattappa paints Shivgami’s hands with Baahubali’s blood which implies she is culpable for propelling this tragic death of the hero and asks a rhetorical question to her, “Can we be absolved of this sin in this birth?” Similar to Kaikeyi, Shivgami too did not think rationally when she was being provoked by her husband Bijjaldeva. The sublime tragic intensity of Baahubali is accentuated when Kattappa discloses to Shivgami the last words uttered by Baahubali that the latter requested Kattappa to take care of Shivgami, his mother and did not ask anything about his wife or unborn child. 

Remorse, guilt and repentance by the Royal Queen are also mentioned in the Indian epics when a revelation dawns upon them. The death of Dasharatha after the banishment of Rama, Lakshmana and Sita followed by her abandonment by Bharata facilitated a moment of epiphany that Kaikeyi underwent. Consequently, she apologized to Rama for committing this grave mistake after the completion of the tenure of exile. In The Mahabharata, after the death of the Kauravas, Gandhari cursed Krishna by saying that the Yadava clan too will be perished in the same manner her children have attained martyrdom. Thereafter, she apologized to Krishna for cursing him when she underwent a revelation that she committed the blasphemy of cursing God incarnate. In Baahubali, Kattappa unravels the truth to Shivgami by saying, “What a mistake have you committed! Your wrath against Baahubali was so fierce that you could see through the villainous conspiracy of your own son!” It is at this moment when true realisation dawns upon Shivgami who repents over this blunder and visualises that she is petting Baahubali.

‘Ekphrasis’ or a presentation of work of art is a significant convention of the epics. In The Ramayana, Sita’s idol made of gold that is placed beside Rama on the occasion of Ashwamedha Yagna serves as an ekphrastic element in the epic. In The Mahabharata, the palace of illusions that was constructed by the Pandavas is a potential example of ekphrasis. In Baahubali however, ekphrasis has been portrayed in a pejorative and disparaging light. Bhallaldeva’s magnanimous idol made of gold is an example of ekphrasis. The idol is constructed with gold jewellery that is snatched and robbed of the common citizens. Moreover, in Baahubali: The Beginning, the idol is installed using several labourers toiling over to pull the thick rope who are whipped if they release it out of pressure.

Coupled with the feature of ‘ekphrasis’ is witnessed the epic convention of ‘katabasis’ or descent to the underworld that the movie Baahubali also exploits. In The Ramayana, ‘katabasis’ is observed when Sita descends into Mother Earth towards the end of the epic. In The Mahabharata, Yudhishthira descends into ‘Naraka’ and observes his brothers and Draupadi suffering due to their misconducts. In Baahubali, ‘katabasis’ occurs at the end of the movie after Devasena performs the ‘Rakshas Dahan’ festival and burns the living demon, Bhallaldeva. After the coronation and subsequent pledge-taking ceremony of Mahendra Baahubali, the broken head of the ekphrastic idol of Bhallaldeva is discarded in the sea by the citizens of Mahishmathi. It then collides with the rocks and breaks eventually. The head of the idol is a manifestation of unrighteousness, torment and malicious governance as suorted with the dialogue of Mahendra Baahubali who echoes the unforgettable preaching of Krishna from The Mahabharata and Mahendra exclaims, “Any unrighteous tormentor who attempts to obstruct the path of a just and righteous person would be beheaded.”

The epics, conventionally conclude with the passing away of the epic hero or passing away of a glorious age. In The Ramayana, Rama is seen to take a ‘mahasamadhi’ in the river Sarayu. Krishna leaves the mortal coils when a hunter shoots an arrow on his feet. Baahubali ends with the death of the legendary hero, Amarendra Baahubali and the coronation of his son, Mahendra Baahubali.

III

Baahubali does not exhibit formal strictures of epic conventions. One of the most essential characteristics of an epic was its written manuscript. Baahubali does not adhere to this convention stringently but resonates with the Indian epics in many aspects. In the modern era where readers scarcely indulge in the arduous journey of reading the epics due to time constraints, the epic conventions have been modified and restructured suiting the opinions of the audience. In spite of the fact that Baahubali exhibits the angle of entertainment as a movie, it is not impossible to overlook the subtle comparisons of the movie with the ancient Indian epics.

References:

Baahubali 2: The Conclusion. Dir. S. S. Rajamouli. 2017.

Baahubali: The Beginning. Dir. S. S. Rajamouli. 2015.

Britannica. n.d. 12 August 2023 <https://www.britannica.com/art/epic>.

Cambridge Dictionary. n.d. 12 August 2023 <https://dictionary.cambridge.org/dictionary/english/epic>.

Quora. n.d. 12 August 2023 <https://www.quora.com/How-did-Baahubali-team-come-up-with-names-like-Bhallaladeva-Sivagami-Kattappa-Bijjaladeva-and-Kalakeya-What-is-the-reference-for-these-names>.

The Mahabharata, Book1: Adi Parva, Section I. n.d. 11 August 2023 <https://sacred-texts.com/hin/m01/m01002.htm>.