Ghatotkacha the Story of Ghatotkacha

Ghatotkacha

The story of Ghatotkacha is a great heroic tale, and his image has been coveted for the symbolic representation of a true heroic spirit. The tale stems out of the ancient Hindu traditions of India, but traveled into Indonesia. There, the people of Indonesia came to covet Ghatotkacha as a symbol of humility and heroism, and adapted the larger tale into local traditions, as seen particularly in the tales adaptation into Wayang theater.

The Indonesian version of the heroic tale of Ghatotkacha is also derived from the sacred Hindu texts found in the Mahabrata. According to the legend, Ghatotkacha was the son of a king and a female giant. His father had not been in his life as he grew up, but this did not stop Ghatotkacha from rushing to his father's aide when it was needed. In fact, "As soon as Ghatotkacha was remembered by Bhima, he appeared there with so many Rakshasas," (Rajagopalachari 58). This is a testament to Ghatotkacha's devotion, which is part of the reason he makes such a heroic figure. He then carried the ill Draupadi, while the giants of his army carried the Pandava brothers. This helped them travel to the holy mountain of Kailas faster and begin the fight against the encroaching evil. As part giant, Ghatotkacha had special magical powers, and used "weapons of illusion," (Rajagopalachari 118). This created his myth but also provided him the necessary strength and wit to defeat his literary adversaries. Within the context of the tale, Ghatotkacha gets to reunite with his younger brother, a typical plot line in Hindi literature (Dharma Universe 1). This is typical of Hindu literature, and also gives him the motivation needed to fight his great battles. Ghatotkacha "was the hero of the eighth day's battle. The destruction caused by Ghatotkacha was tremendous," (Rajagopalachari 101). He went to help the battle between Somadatta and Satyaki and engaged in battle with Aswathama. Here, he defeated Aswathama, "Ghatotkacha used his weapons of illusion and Aswathama in his turn made them an exercise in futility," (Rajagopalachari 117). However, this was the beginning of the end. According to the literature, Ghatotkacha met his match in this final battle while sacrificing himself for the good of his family and friends. Then, Duryodhana sent Karna to attack G. And "the fight between Ghatotkacha and Karna was the most fierce," (Rajagopalachari 117). When Karna seemed to be loosing, he used his Shakti, a "mighty weapon he had obtained from Indra as a gift in exchange of his divine armor and earrings," (Rajagopalachari 118). Karna's use of the sacred weapon meant only for Arjuna dealt the final blow in the great tale of Ghatotkacha; "It sped at the target, and pierced through the chest of Ghatotkacha," he "instantly fell dead, and the Pandavas were plunged in great despair." (Rajagopalachari 118). Part of his heroism comes directly from this sacrifice. He sacrificed himself to save Arjuna, for the "Shakti now cannot be used again by Karna, and Arjuna was safe," (Rajagopalachari 118). However, his fate was sealed from the beginning. When he was born, he was so strong that his navel could not be cut with any traditional knife. Thus a wise man advised that an arrows casing be used, which was then stuck within his body. Here, it is fate "when the arrow Kunto returns to its casing then Ghatotkacha should die," (Bandyopadyay "Variations in Indonesian Mahabharata."1). Thus, the tale is a cycle of sacrifice and fate intertwined to present one of Hinduism's great literary heroes that spread to areas like Indonesia.

There are several elements of Ghatotkacha's character and presence that Indonesians covet based on their own cultural mores. In the tale, Ghatotkacha allows himself to get to ambitious and thus sets himself up for a lesson learned based on his arrogance Thus, when he meets his younger brother, "Overconfidence and complacency causes his defeat at the hand of a younger adversary," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law."1). This image of failure and salvation is a coveted element of the heroic figure of Ghatotkacha as seen by the Indonesian people. He must learn from his mistakes, which then makes him a reflection of major religious teachings; "Ghatotkacha has also lessons to learn through trial," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). Thus, his mistakes and subsequent lessons prove a major element for the Indonesian people's love for his heroic figure status.

An additional element that is so coveted by Indonesian people and their cultural values is the sacrifice Ghatotkacha made to save his family and friends. In the tale, he Dies young and sacrificed himself. Thus, "Ghatotkacha is the sacrificial hero, willing to put his own happiness at stake for the happiness of his brother," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). He is humble and honorable in his decisions to disregard his own needs for the greater good of his people and his family's struggle within the battles that he dominates. Within the frame of the story, he is "working incessantly for others, not seeking anything in return," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). His sacrifice makes him into a great hero, one to be admired and coveted by the Indonesian people.

The idea that Ghatotkacha also uses more than his mere strength is another element of his heroic character. He is incredibly smart and witty, and "is reminiscent of the 'naughty and mischievous Krishna' who handles a tricky situation with tricks," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). Rather than being only a one sided hero, he embodies both brute strength and keen intelligence, fighting many with his wit and still conquering over his enemies. He doesn't kill several of his competitors and "crisis is solved by wit and magic," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law."1). Thus humiliation proves the result of most conflict; teaching the lesson without the blatant violence, "death is tempered by humiliation," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). His appearance is contrasting to his actual character- he is fearsome looking, with piercing, fear invoking eyes. Yet, "despite all the terrible attributes, Ghatotkacha is a hero, because his heart is at the right place," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). Thus, he is portrayed as a romantic hero behind the guise of a traditional war hero.

In one area of Indonesia, Bali, his image is particularly favored enough to actually create a ritualistic worship of his heroic deeds and mythic life. Because most Bali residents are Hindu, they worship Ghatotkacha in a way much different than in the monotheistic tradition of Islam. Hinduism allowed the people of Bali to treat the hero like a god or demi-god, and therefore create rituals around his worship (Chidambaram 1).

The Hinduism practiced in Bali is much different than traditional forms found within India (1). In Balinese culture "religion is considered to be art and it seems that almost every Balinese is a devoted artist, spending 'free time' applying skills and images which have been passed down from generation to generation," (Paradise Property Bali 1).

Thus the artistic representation of Ghatotkacha is tied tightly to religious traditions of the Hindu found within Bali. In fact, they "worship the pandavas and four giant statues of the pandavas spread across Bali," (Chidambaram 1). Indonesians in Bali thus covet Hindu art as a religious embodiment of sacred traditions. The figure of Ghatotkacha is especially loved in Bali because of his ultimate sacrifice; "The people of Bali adore Ghatotkacha for the spirit of self sacrifice, and so built the statues, showing magnificently the strength and grandeur of the hero," (Chidambaram 1). This sacrifice elevates Ghatotkacha to mythic proportions.

Larger Muslim Indonesia has also adopted the heroic tale of Ghatotkacha as an Islamic tale, which has been used to spread the doctrine of Islam. Within the tale, there is a "strong patriarchal orientation," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). This is a major element of Islamic traditions, and so was easily adapted into traditional Indonesian Muslim culture. The play itself is a heroic tale which champions Ghatotkacha. By Islam adopting a previously popular tale as its own, it can then gain more popularity within the daily lives and culture of the people practicing the religion. It is an example of a Vyayoga style play. Thus, "The theme of the Vyayoga must be heroic, and there must be a fight in the action, but the sentiment of love is excluded: the motive for the fight may not be a woman," (Janvier 1). In fact, the story is typical of traditional Islamic notions of the superiority of the male figure. In the story, "Woman is shown as enemy to woman. They are shown as he root cause of troubles," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). The story also portrays the roles of women as incredibly passive. When Ghatotkacha dies, his mother is left vulnerable and is "rendered helpless at the unexpected death of the main pillar of her security," (Bandyopadyay "A Study in Folk 'Mahabharata:' How Balarama Became Abhimanu's Father-in-Law." 1). This was then adopted by Islamic tradition to show the nature of the woman's role within typical life.