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In the 1580s, Emperor Akbar ordered the translation of the Sanskrit Mahabharata into Persian. The newly minted Mughal epic, called the Razmnamah (Book of War), would prove a seminal work in imperial circles for decades. In the 20 years following the initial translation, Mughal literati composed a highly political preface for the Razmnamah and reworked portions of the text several times. The translation was even incorporated into the education of royal princes. While scholars have long been aware of Mughal engagements with the Mahabharata and the epic’s visibility at the imperial court, few have tried to parse the impacts of the translation on Mughal political and literary culture.
In the 1580s, Emperor Akbar ordered the translation of the Sanskrit Mahabharata into Persian. The newly minted Mughal epic, called the Razmnamah (Book of War), would prove a seminal work in imperial circles for decades. In the 20 years following the initial translation, Mughal literati composed a highly political preface for the Razmnamah and reworked portions of the text several times. The translation was even incorporated into the education of royal princes. While scholars have long been aware of Mughal engagements with the Mahabharata and the epic’s visibility at the imperial court, few have tried to parse the impacts of the translation on Mughal political and literary culture. Nobody has provided substantial textual analysis of the Razmnamah, and its two major subsequent rewritings remain unpublished altogether. As modern theorists remind us, translation is always an act embedded in larger cultural, social, and political networks. Through repeated encounters with the Mahabharata, the Akbari elite remade a Sanskrit epic into an imperially potent part of the Indo-Persian tradition.
The Mughals took up the Mahabharata as part of a larger translation movement that Akbar had inaugurated in the mid-1570s. In 1575, three successive translators failed to produce a Persian Atharva Veda, an enigmatic Brahmanical religious text. Around the same time literati authored two Persian retellings of the Simhasana-dvatrimsika (Thirty-Two Tales of the Throne), a popular collection of Sanskrit stories. A team of translators produced the Razmnamah in the mid-1580s and tackled the Ramayana a few years later. Thereafter imperial support abounded for translations of all sorts. He underwrote Persian versions of several narrative texts, including story collections such as the Pañcatantra (Five Tales) and historical chronicles like the Rajatarangi (River of Kings). Another noteworthy Sanskrit-based narrative sponsored by Akbar is Fayzi’s Nal-Daman, a masnavi retelling of the love story of Nala and Damayanti. The imperial atelier lavishly illustrated many of these works, and art historians have produced some of the most insightful analyses to date on Mughal translation projects.
The Mughals treated the Mahabharata as a crucial component of their multifaceted project to make the Sanskrit tradition a living part of Indo-Persian culture. Moreover, Mughal literati repeatedly reframed and reworked the Razmnamah to participate in multiple imperial interests, including political disputes, poetry, and history.
Answer:
No, she did not have a hundred dresses because she was poor and wore the same faded dress to school everyday. She had an inferiority complex. In order to hide the complex and impress the other girls, she always said that she had a hundred dresses.