and man-lion and later those of Vamana the dwarf, Parasurama ('Rama with
the Axe'), and finally, the princely Rama. In each of these incarnations
he has intervened and, for the time being, rectified the balance. During
the period covered by the epic, he undergoes an eighth incarnation and it
is in connection with this supremely vital intervention that Krishna
appears.

To understand the character which now unfolds, we must briefly consider
the central story of the _Mahabharata_. This is narrated in the most
baffling and stupendous detail. Cumbrous names confront us on every side
while digressions and sub-plots add to the general atmosphere of confusion
and complexity. It is idle to hope that this vast panorama can arouse
great interest in the West and even in India it is unlikely that many
would now approach its gigantic recital with premonitions of delight. It
is rather as a necessary background that its main outlines must be
grasped, for without them Krishna's character and career can hardly be
explained.

The epic begins with two rival families each possessed of a common
ancestor, Kuru, but standing in bitter rivalry to each other. Kuru is
succeeded by his second son, Pandu, and later by Dhritarashtra, his first
son but blind. Pandu has five sons, who are called Pandavas after him,
while Dhritarashtra has a hundred sons called Kauravas after Kuru, their
common grandfather. As children the two families grow up at the same
court, but almost immediately jealousies arise which are to have a deadly
outcome. Hatred begins when in boyish contests the Pandavas outdo the
Kauravas. The latter resent their arrogance and presently their father,
the blind king, is persuaded to approve a plot by which the five Pandavas
will be killed. They are to sleep in a house which during the night will
be burnt down. The plot, however, miscarries. The house is burnt, but