The Car Companies and Mahabharata Essay Example

owner.

The comparison between this situation and the assumption of the characters’ divine pedigree or affinity in Mahabharata reveals certain parallels in their social contexts. In "The Great Hall", which is considered Book 2 of the epics, there are significant instances of the description of the Pandavas' servants, palaces, weapons, and chariots. The tale of the construction of "the Greatest of all Halls", which was done by asura Maya as a gesture of gratitude for saving his life, is showcased here. This building is described as a "heavenly hall of celestial splendor, shimmering with the light of jewels" ("The Great Hall" 3.21-22), representing grandeur and royal authority.

The text describes the prestigious features of the “Greatest of the Halls”. These features include being built of “pillars of pure gold”, covering an area “ten thousand cubits long and wide”, and emitting a “fiery light as intense as the Sun, white as Soma” (“The Great Hall” 3.23-24). These descriptions use metaphorical exaggerations common in ancient Indian epic literature. The subsequent depictions of the hall’s properties, such as the internal pool with "crystal waters" often mistaken for "abundance of sparkling waters" (“The Great Hall” 3.32), further emphasize the connection between power, splendor, and material wealth. Comparing this depiction to the promotional materials for Bugatti, the most expensive car manufactured by Volkswagen, reveals the similar narratives used to convey the car's exquisite authenticity and social prestige.

One example of a Bugatti Veyron advertisement, created by Scott Schmitt, showcases an image of an 18th-century estate. The advertisement draws a comparison between the mansion belonging to a potential owner and the 18th-century Greek Revival style. Additionally, the author of the poster suggests that the

Bugatti car can be likened to the esteemed horses ridden by European nobility during the 18th century. This implies that the mansion would be even more impressive with these horses in front. The poster prominently displays the shining bulk of the Bugatti car, with the blurred lines of the imagined mansion serving as its destination. Such imagery appeals to individuals who value authenticity and historical influence, particularly when it comes to high-quality products offered by the luxury car industry.

Just like "the Greatest of the Halls" serves as a symbol of luxury and prestige for the royal and semi-divine characters in the Mahabharata, the Bugatti car fulfills a similar role for its affluent customers. However, there is a notable distinction between the two. While the wealth and comfort enjoyed by the Pandavas and their companions in the Mahabharata are viewed as inherent entitlements, modern advertising emphasizes the relative aspect of wealth and luxury that is dependent on personal finances. Consequently, these instances exemplify different approaches to social status and privileges. Similarly, Book 4 of the Mahabharata depicts a comparable portrayal of a prestigious horse in "Virata".

In Arjuna's recognition scene by Uttara, Uttara goes to great lengths to praise the horses that will be at Arjuna's disposal. Here is Uttara's complete eulogy: The horse yoked to the right-hand pole is as fast as Krishna's Sugriva, moving so quickly that its hooves leave no trace! The handsome horse carrying the left-hand pole is the best and most excellent among all trained creatures, and in my opinion, it rivals Megha·pushpa in terms of speed. The shining golden-armored horse with the rear left pole is as fast as Shaibya, but

stronger. The horse standing near the right, bearing the pole, is considered more powerful than Balahaka in terms of speed! This chariot is deserving of carrying a skilled archer like yourself into battle, and you deserve to fight from this chariot! ("Virata" 45.20-23). Because of the specific mythological vocabulary used in this passage, it is necessary to explain some of the mentioned characters. Sugriva, Megha·pushpa, Shaibya, and Balahaka are four horses trained by Krishna when he was the Pandavas' charioteer, known for their exceptional speed and agility.

Uttara's remarks exemplify the common practice in traditional Indian literature of comparing real and mythological characters to praise the real-life subject of comparison. Despite both objects of comparison being clearly mythical in this case, the usage of this pattern is not excluded. The symbolism in such comparisons lies in establishing a connection between the spiritual and physical planes of existence, as the real thing is equated with its mythological counterpart. A similar situation can be observed in the car industry, as demonstrated by the Skoda Muzeum project in Mlada Boleslav (Czech Republic), which opened this year. Car companies can utilize their brands' legacies as a means to enhance their brands' appeal to customers.

In the case of Mahabharata, the emphasis is on mythological tradition as the source of commendable references to worldly characters, creatures, artifacts, and more. However, the Skoda Muzeum presents a different concept of 'tradition'. Here, the brand's tradition is understood as its overarching values, such as "Pride in the brand", "Everyday utility", or "Challenges" (New SKODA MUZEUM). The museum's "Evolution" section showcases the 14 core Skoda models and a few others that reflect the brand's historical development.

The technology gallery in particular provides abundant information on the brand's technological advancement (New SKODA MUZEUM).

The "Tradition" section of the Skoda Muzeum and this segment propose potential similarities between current car brands and their historical development. The showcased examples emphasize the importance of authenticity and prestige in both Indian epics and modern car industry advertisements. In the Mahabharata, divine heroes and deities carry social prestige, while modern advertisements assume that anyone can achieve such a status. This could be interpreted as an expression of social egalitarianism, but it is more likely that pre-modern India's social hierarchy was easier for the general public to comprehend compared to our contemporary system based solely on income and wealth. Thus, it can be argued that the concept of prestige in the Mahabharata may possess more genuineness than that found in modern Western society.

Competition and Rivalry in Mahabharata and Car Industry.

In the structure of Mahabharata, competition plays a vital role. The heroes, Pandavas and Kauravas, who hail from the same royal lineage as cousins through their common ancestor King Kuru, are depicted as fierce adversaries. The Kauravas go to great lengths to annihilate their virtuous relatives. This documented familial conflict serves as the main storyline of Mahabharata and will be examined in this essay.

The competition between the various brands owned by the Volkswagen Group can be seen as a unequal and competitive relationship. For example, Bentley and Lamborghini compete against each other, as do Skoda and Volkswagen. Bugatti is considered the supreme brand in terms of speed and price. Thus, the hierarchy of Volkswagen's brands can be compared to the characters in the Mahabharata. Both the automotive industry and

the Mahabharata have vertical hierarchies, so it is important to start with the top of each hierarchy. The Bugatti brand has a legendary history.

Established in 1909 by Ettore Bugatti, Automobiles Ettore Bugatti specialized in producing bespoke and high-performance cars to cater to the discerning preferences of the privileged and renowned participants in car racing competitions (Ard op de Weigh, Hottendorff, and Arnoud op de Weigh 38-39). Nonetheless, Ettore Bugatti, the company's founder, was selective in his clientele and would reject customers if he deemed them unsuitable for membership in the prestigious Bugatti owners' club. For instance, he declined a proposal from the King of Albania to purchase a Bugatti Type 41 Royale car due to the monarch's lack of proper etiquette at the table (Ard op de Weigh, Hottendorff, and Arnoud op de Weigh 38). The Bugatti family's artistic background fueled a perception that each car produced by the company was a work of art. This contributed to the brand's popularity in the 1930s but also led to its decline after World War II, with only 2,000 Bugattis of all types surviving the war's devastation (Ard op de Weigh, Hottendorff, and Arnoud op de Weigh 38). Subsequently, the company had to reimagine itself as a supplier of spare parts for aircraft, existing in a rather disheartening state until it was acquired by Roberto Artioli, an Italian entrepreneur in the automotive industry who aimed to revive the glory of the Bugatti brand.During the late 1990s recession, Artioli's ambitious projects, including the development of the innovative Bugatti sports cars' brand like Bugatti EB110, ultimately met their demise despite his company's initial success.

After facing difficulties in the commercial

sector for several years, the Bugatti brand was acquired by Volkswagen AG in 1998. It took another 7 years until the production of Bugatti cars returned to their full capacity with the introduction of the Bugatti Veyron EB 16.4 (Bugatti Automobiles S.A.S.). The success in the market that followed in 2010-2011 demonstrated that old and seemingly forgotten brands can make a remarkable comeback if professional marketing strategies and competent technological innovations are implemented. A similar narrative can be observed in the Mahabharata, where the story of Bugatti's downfall and subsequent resurgence bears resemblance to the Pandavas' loss of kingship, their years of exile, and their eventual triumphant comeback to glory. The second book of the Mahabharata portrays the Pandavas as invincible rulers who become enviable figures throughout the world.

The Pandavas are the owners of the magnificent Great Hall and have abundant resources to lavish the most opulent gifts upon the wise individuals and the religious recluses (“The Great Hall” 45). Duryodhana, who is one of the Kauravas and the eldest son of King Dhritarashtra, admires and feels envious of the Pandavas’ accomplishments and fame. Duryodhana expresses his dissatisfaction with his rivals' affluence through the passage below: Yudhi·shthira provides support to eighty-eight thousand snatakabrahmins, each one having thirty servant girls at their disposal. Additionally, ten thousand others savor exquisite delicacies served on golden platters within Yudhi·shthira’s residence.

The King of Kamboja bestowed upon him various offerings including hides of the kadali deer in different colors and high-quality blankets. The palace is home to an abundant number of elephants, women, cows, horses, and camels. The kings presented tribute and abundant wealth at the royal ceremony held in honor

of the son of Kunti. I was astounded by the never-before-seen influx of riches that I witnessed at the sacrifice! Now, having laid my eyes upon those immeasurable riches, which are now in possession of my enemies, O king, I cannot find peace of mind.

Duryodhana's resentment is intensified by the humiliations he experienced at the Pandavas' palace during the Royal Consecration Ceremony. Similar to how the King of Albania would have been disheartened by Bugatti's refusal to sell him a prestigious car, Duryodhana was angered by the laughter he faced when he mistakenly thought the false pools were real water and vice versa. Adding insult to injury, the five Pandava brothers personally laughed at Duryodhana's embarrassment, causing him great distress. Considering the significance of honor and personal dignity to mythological kshatriyas in Puranas and Mahabharata, it is expected that Duryodhana would be consumed by rage, leading to the downfall of the Pandavas' splendor.

The loss of Yudhi·shthira and his brothers' realm and their subsequent exile can be directly attributed to the insult endured by Duryodhana. This parallel can be seen in both the history of the Bugatti brand and the narrative of the Pandavas' exile. The pause in production for Bugattis could be likened to the Pandavas disguising themselves before attending Virata's court. Just as the Bugatti Company had to deal with the humiliation of transitioning from a prestigious car producer to a supplier of average aircraft spare parts, the Pandavas also faced similar challenges when they chose their disguises for their secret life in Virata's court.

The Pandavas chose disguises that emphasized their separation from their past glory. For example, Arjuna, known for his

heroic deeds alongside Krishna and his time spent with Indra, takes on the identity of a eunuch named Brihannala. In this role, he entertains the women of Virata's household with tales of warriors' heroism. Bhima, the strongest of the Pandavas, becomes a head chef named Balaclava. Instead of displaying his strength on the battlefield, he now demonstrates it by handling heavy wood and controlling powerful animals on the royal estate. Similarly, Nakula and Sahadeva, the youngest twin brothers, become a royal horse-keeper and cowherd respectively. Although they were once in charge of such matters in Yudhi·shthira's palace, they now work as menial laborers in the fields, symbolizing their loss of power and prestige.

Finally, Yudhi·shthira himself becomes a gambling brahmin, entertaining King Virata and his ministers and servants with various forms of table gambling. It was Yudhi·shthira’s inept gamble with King Shakuni that led to the Pandavas losing their riches and realm to the Kauravas. This disguise may appear tragicomic, similar to Arjuna pretending to be a eunuch. Like the Bugatti, the Pandavas lower themselves to endure tough times. However, just like Bugattis, the Pandavas ultimately triumph over their harsh exile conditions. Once they enter Virata’s court, their true glory is revealed to everyone. Yudhi·shthira, previously seen as a servant, is now described as a man with a body as bright as pure gold, resembling a fully grown lion. Bhima, thought to be a strong but foolish cook, is now shown as a man with the gait of an enraged king among elephants and skin as radiant as heated pure gold. Lastly, Arjuna, who concealed his divine weapon skills behind the facade of a eunuch, is

unveiled as a dark-skinned youth...

The text highlights the similarity between the rediscovery of Bugatti's prestige in the 2000s and the revival of the glory of the Pandavas in this world after years of exile. Comparing these narratives allows one to uncover common patterns in brand stories and epics, which is uncommon. While brands, including prestigious ones, are seen as part of the everyday world, characters in Indian epics are considered earthly manifestations of transcendent deities or archetypes for noble conduct.

Despite their differences, the narratives of both the Pandavas' exile and return and the history of the Bugatti brand follow a similar structure. They both feature a depiction of past glory, followed by a period of suffering, and ultimately a triumphant restoration of their previous position (thesis - antithesis - synthesis). Therefore, these two stories belong to the same narrative archetype.

Bentley and Lamborghini, Karna and Arjuna: The Discourses of Rivalry.

While Bugatti is a luxurious sports car renowned for its prestige and technological prowess, Bentley and Lamborghini are competing brands targeting the same clientele in the business-class market segment. Complicating this rivalry is the fact that both Bentley and Lamborghini belong to the Volkswagen Group, potentially creating a complex dynamic similar to a "familial" relationship. Similarly, Karna and Arjuna are brothers who were initially unaware of their shared bloodline. In this context, Karna can be seen as a tragic hero - the son of Kunti, the mother of the Pandavas, conceived through her union with Surya, the Sun-God, before her marriage to Pandu, the father of the Pandavas.

Therefore, Karna, being chosen by the Kauravas as one of their champions, must fight against his half-brothers to

fulfill his previous vows of friendship and loyalty – a tragic situation that is often seen in various Indo-European epics. In the context of this paper, this situation can be compared to the relationship between the Bentley and Lamborghini brands. Although both brands currently belong to the Volkswagen Group of Germany (common 'mother'), they have different origins. The Bentley car models were manufactured by Bentley and later Rolls-Royce companies before Volkswagen acquired the latter in 1998 (Feast 138).

Similarly, Lamborghini, founded in 1966 by Ferruccio Lamborghini to compete with established car manufacturers (Jolliffe and Willard 18), is of Italian origin. However, the company faced difficulties in the 1970s due to oil shocks, leading to mergers and acquisitions, until it was ultimately acquired by Volkswagen Group. This paper views Lamborghini as comparable to Arjuna, who endured trials and tribulations before attaining glory at Kurukshetra. In contrast, Karna can be compared to the Bentley brand, as he is the son of the Sun-God and Bentley was founded during the British Empire's dominance.

The rivalry between Karna and Arjuna has gone through various stages in the epics. In “The Beginning”, the first book of Mahabharata, Karna arrives at the weapons tournament organized by Drona, who is the teacher and weapon master of both the Pandavas and the Kauravas. At this point, Arjuna has already shown his skill with weapons and accomplished remarkable warrior feats. Karna is described as a towering figure, born to a virgin, Pritha (Kunti), and a part of the hot-rayed sun. He is referred to as “the glorious son of the Sun”, with immeasurable virtues. Karna asserts that he can surpass the feats already achieved by Arjuna

and eventually proves himself true to his words.

Arjuna feels upset and offended by the challenge, but the Kauravas are impressed by Karna's fighting skills and want to be his friends. Despite being related, Karna and Arjuna have become lifelong rivals. This relationship is comparable to the rivalry between Bentley and Lamborghini. In the Italian auto industry, the most notable rivalry has traditionally been between Lamborghini and Ferrari (similar to the rivalry between the Pandavas and Kauravas). However, currently Bentley and Lamborghini are the main competitors in the luxury car market worldwide.

The announcement in 2012 that Lamborghini planned to introduce its SUV to the Chinese market was seen as a challenge to both Ford's Maserati and Bentley's similar model (Savin). This rivalry between Lamborghini (Arjuna) and Bentley (Karna) is reminiscent of the competitive nature of their market. However, the epic tale of Karna and Arjuna in Book 8 of Mahabharata portrays a much more intense and uncompromising rivalry. While it is unlikely that Bentley and Lamborghini will reach such a dramatic conflict, the story serves as a warning about the temporary nature of success in both politics and business.

Both in the Mahabharata and in the car industry market, conflicts and competition can lead to unexpected outcomes. Just as Karna is defeated in a chariot duel, a company may be defeated by its traditional rival in unforeseen circumstances. It is important for business executives to remember this when considering expansion or other drastic changes. The depictions of conflict and competition in Mahabharata are similar to those found in inter-brand rivalry. While the former deals with quasi-divine heroes from India's past and the latter focuses on

commercial undertakings, the underlying pattern remains the same. The struggle for power and dominance is present in both narratives, regardless of the identities or historical authenticity of the actors involved.

The text highlights the fluctuating fortunes of rulers and entrepreneurs by comparing the rise and fall of the Pandavas and Bugatti. It also discusses the irrelevance of family or corporate ties when it comes to competition, using Lamborghini and Bentley as a parallel to Karna and Arjuna. The main message from these analogies is that current failure does not mean future triumph is impossible, and current success should not breed complacency. Additionally, the issue of outward symbols of prestige and power is raised, suggesting that both the Pandavas and luxury car manufacturers/owners may enjoy their wealth but can never be certain of future setbacks caused by external factors like a neighboring Duryodhana disrupting their plans.

The rich and successful individuals need to carefully consider all the available options and impartially assess their adversaries, instead of bragging about their current popularity and accomplishments.