Kanaiyalal Maneklal Munshi's versatility and achievements were in a way unique. He was an eminent lawyer, one of the framers of India's Constitution and a seasoned statesman. Coming under the inspiring influence of Sri Aurobindo during his student days, Munshi had been an ardent fighter for India's freedom, working at different stages in close association with Jinnah, Tilak, Besant, Mahatma Gandhi, Sardar Patel and Pandit Nehru. His achievements as Home Minister of Bombay in 1937, as India's food Minister and as Governor of Uttar Pradesh had been characterized by rare courage and decisive energy.
Acknowledged as the foremost writer in modern Gujarati literature, he has to his credit a vast and varied literature including novels, dramas, memoirs and history in Gujarati, as also several historical and other works in English, notably Gujarat and Its Literature, Imperial Gurjaras, Creative Art of Life, To Badrinath, The End of an Era, Krishnavatara, Bhagavad Gita and Modern Life, Saga of Indian Sculpture, Bhagawan Parashurama, Tapasvini, Prithvi Vallabh and The Master of Gujarat.
The Bharatiya Vidya Bhavan-that Institute of Indian Culture in Bombay-needed a Book University, a series of books which, if read, would serve the purpose of providing higher education. Particular emphasis, however, was to be put on such literature as revealed the deeper impulsions of India. As a first step, it was decided to bring out in English 100 books, 50 of which were to be taken in hand almost at once.
It is our intention to publish the books we select, not only in English, but also in the following Indian languages: Hindi, Bengali, Gujarati, Marathi, Tamil, Telugu, Kannada and Malayalam.
This scheme, involving the publication of 900 volumes, requires ample funds and an all Indian organization. The Bhavan is exerting its utmost to supply them.
The objectives for which the Bhavan stands are the reintegration of Indian culture in the light of modern knowledge and to suit our present day needs and the resuscitation of its fundamental values in their pristine vigour.
Let me make our goal more explicit:
We seek the dignity of man, which necessarily implies the creation of social condition which would allow him freedom to evolve along the lines of his own temperament and capacities; we seek the harmony of individual efforts and social relations, not in any make-shift way, but within the frame-work of the Moral Order; we seek the creative art of life, by the alchemy of which human limitations are progressively transmuted, so that man become the instrument of God, and is able to see Him in all and all in Him.
The world, we feel, is too much with us. Nothing would uplift or inspire us so much as the beauty and aspiration which such books can teach.
In this series, therefore, the literature of India, ancient and modern, will be published in a form easily accessible to all. Books in other literatures of the world, if they illustrate the principles we stand for, will also be included.
This common pool of literature, it is hoped, will enable the reader, eastern or western, to understand and appreciate currents of world thought, as also the movements of the mind in India, which, though they flow through different linguistic channels, have a common urge and aspiration.
Fittingly, the Book University's first venture is the Mahabharat, summarised by one of the greatest living Indians, C. Rajagopalachari; the second work is on a section of it, the Gita, by H. V. Divatia, an eminent jurist and a student of philosophy. Centuries ago, it was proclaimed of the Mahabharata. "What is not in it , is nowhere." After twenty-five centuries, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life.
The Mahabharata is not a mere epic; it is a romance, telling the tale of heroic men and women and of some who were divine; it is a whole literature itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival; but above all, it has for its core the Gita, which is, as the world is beginning to find out, the noblest of scriptures and the grandest of sagas in which the climax is reached in the wondrous apocalypse in the Eleventh Canto.
Through such books alone the harmonies under lying true culture, I am convinced, will one day reconcile the disorders of modern life.
I thank all those who have helped to make this new branch of the Bhavan's activity successful.
Who has not heard of Sri Krishna who delivered the
.message of the Bhagavad Gita and whom the Bhagavata calls
God Himself'’ ?
From the earliest days that my memories can go back
to, Sri Krishna has been, in a sense, dominating my imagina-
tion. In my childhood, I heard his adventures with breath-
less amazement. Since then I have read of him, sung of him,
admired him, worshipped him in a hundred temples and every
year on his birthday at home. And day after day, for years
and years, his message has been the strength of my life.
Unfortunately, his fascinating personality, which could
be glimpsed in what may be called the original Mahabharata,
.has been overlaid with legends, myths, miracles and adora-
tions for about three thousand years.
Wise and valorous, he was, loving and loved, far-seeing
.and yet living for the moment, gifted with sage-like detach-
.ment and yet intensely human; the diplomat, the sage and
•the man of action with a personality as luminous as that of
The urge, therefore, came upon me, time and again, to
-embark upon a reconstruction of his life and adventures by
'weaving a romance around him.
It was an impossible venture, but. like hundreds of
authors in all parts of India for centuries, I could not help
-offering him whatever little of imagination and creative power
I possessed, feeble though they were.
I have called the whole work Krishnavatara, The Descent
of the Lord. The First Part, which ends with the death of
kamsa, has been named “ The Magic Flute ", for it deals
with his boyhood associated with the flute, which hypnotised
men, animals and birds alike, sung with such loving tender-
ness by innumerable poets.
I have named this, the Second Part, which ends with
Rukmini Haran, as “ The Wrath of an Emperor ", as the
central theme is the successful defiance by Sri Krishna of
Jarasandha, the Emperor of Magadha.
The Third Part, which is now being serially published
in the" Bhavan's Journal ", is entitled “ The Five Brothers"
which, I hope, will end with Draupadi's swayamvara.
In portraying Sri Krishna's life and adventures, I bad;
like many predecessors, to create episodes in order to bring
out his character, attitudes and outlook in the perspective
which has appeared natural to me. I have also had to give•
flesh and blood to the various shadowy characters referred
to in the Mahabharata. I have, therefore, had to take un-
forgivable liberties with the accepted images which, I trust;
the devout would forgive.
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