Mahābhārata – Episode 55 – The Kaurava Army Faces Arjuna

This article is part 55 of 112 in the series Mahābhārata

Aśvatthāma said, “O Karṇa! We have not yet won the cows that we’ve captured, we’ve not crossed the borders, we haven’t returned to Hastināpura; and you’ve already begun a bout of self-praise! Warriors who have won numerous wars, attained great wealth and prosperity, and conquered the earth speak not about their courage and valour even a little. Without the slightest noise, fire boils things; the sun shines his light in silence; the earth bears the animate and inanimate beings without uttering a word. Arjuna, Nakula, Sahadeva, Dharmarāja, Bhīma – which warrior has stood facing them in single combat and emerged victorious? Who has defeated Draupadī and in which war? There is a limit to man’s patience; even worms and vermin can’t tolerate things beyond a certain limit; that being the case, can the Pāṇḍavas tolerate the humiliation and violence wrought upon Draupadī? Arjuna has been born with the purpose of causing pain to the Kauravas; he is unafraid of devas, dānavas, and gandharvas. Those who know dharma say, ‘Putrādanantaram śiṣyaḥ’ – (for a guru,) the disciple is only next to the son. Therefore, Droṇa has great affection towards Arjuna. Just as in the past, how you played a game of dice and won Indraprastha and dragged Kṛṣṇā to the assembly, even now wage war against Arjuna by means of gambling! Don’t you have your uncle Śakuni, who is so well-versed in kṣatra dharma? The Gāṇḍīva will not throw dice now – kṛta (count of 4) and dvāpara (count of 2); it will release swift and pale-coloured arrows; and those shafts will tear asunder even mountains that come in their way. If it was Yama, the deity of Death or baḍabāgni, the inextinguishable fire that burns in the heart of the ocean, a bit here and there might be saved but if Dhanañjaya is enraged, he will annihilate without leaving a trace. If the revered ācārya wishes, let him engage in combat (with Arjuna); I will not fight with Dhanañjaya. If the king of Matsya comes to the spot where the cows have been captured, then let us fight against him!”

Bhīṣma offered some words of solace. He said, “The words uttered by Droṇācārya and seconded by Kṛpa are fitting. As for Karṇa, adhering to the dharma of a kṣatriya, he is desirous of war as always. It is my opinion that we must fight a war upon careful examination of the place and time. The words uttered by Karṇa were meant to incite us; and the son of the ācārya, Aśvatthāma, must also display patience in view of the mammoth task that lies ahead of us. When Arjuna is standing in front of us, ready for battle, it is not the time to enter into petty infighting. Ācārya! Kṛpa! Both of you please forgive everything; you are endowed with both brāhmaṇya (trait of brāhmaṇas) and brahmāstra (divine weapon). You have the Vedas, you have kṣātra. Where else do you find both of these together at a single place? Now let us not fight among ourselves; the wise tell us that such infighting is the worst thing among all the bad things that could happen to an army. Therefore, let us all unite and battle Arjuna.” Everyone begged for Droṇa’s forgiveness; he regained his composure and said, “My mind became calm as soon as Bhīṣma uttered his first sentence. Arrange the army in a strategic way such that Duryodhana is not captured and also infuse some spirit in the soldiers. It is impossible that Arjuna will disclose his identity before the thirteenth year period is complete; and he will not stop until all the cows are freed; keeping all this in mind, let Bhīṣma say what he thinks.”

Bhīṣma said, “Once in every five years, we have an intercalary month (adhikamāsa); if we consider that, as on today it has been thirteen years, five months, and twelve nights since the Pāṇḍavas went into exile. They have completed their forest exile as promised; Arjuna has come here fully aware of this. Will they err with Dharmarāja around? They are not people who will forsake kṣatriya dharma, utter lies, cheat others, and win the kingdom by hook or crook; they are also not of the kind who will remain still when the time comes. Now we must take action such that our wealth doesn’t escape our hands and reach our enemies; we must do that which is best for the larger good. Duryodhana! One cannot say conclusively that this is victory in a war. So take a decision, quickly, do you want to take the path of war or take refuge under dharma?”

Duryodhana said, “Grandfather! I am not one to give the kingdom back to the Pāṇḍavas. Do whatever it takes, with utmost care, to wage a war. Make all the arrangements!”

Soon after that Bhīṣma said, “If that be your call, this is what occurs to me: if you can listen to me and agree with my words, do so. Take one-fourth of the army and return to the capital; let another one-fourth of the army chase after the cows; and with half the army, let us wage war against the Pāṇḍavas or the Matsya king or Devendra or whoever else comes. Let the ācārya be at the centre; let Aśvatthāma be on the right side; let Kṛpa be on the left side; let Karṇa be in the front; and I will be at the back, providing support to the entire army and overseeing them.”

Even as the army was getting organized as per Bhīṣma’s instructions, Arjuna entered; the sound of his chariot was heard; his flag came into sight; his arrows fell in the chariot of Droṇa. Looking at that, the ācārya said with glee, “O, the Gāṇḍīva has come! Two of his arrows have fallen on my feet; these two whisked past my ears; returning after completing his forest exile, Pārtha is offering his respects to me. He is enquiring after my welfare!”

Arjuna told Uttara, “Park the chariot at such a distance from the army that I can reach it with my arrows; let me find that lowliest among the Kurus and first launch an attack on that arrogant fellow. Once that happens, it is as good as all of them losing. I can see Droṇa, Aśvatthāma, Bhīṣma, Kṛpa, Karṇa, and others. But I can’t see the Kaurava alone. Oh! Fearing for his life, the coward must be going in a southern direction, driving the cattle with him. Therefore, turn the chariot away from this army and go in the direction of Duryodhana; I will fight there. I will defeat him and retrieve the cows.”

As per the orders, Uttara pulled the reins and turned the chariot; meanwhile, Droṇa guessed Arjuna’s intention and said, “Arjuna is ignoring us and rushing in Duryodhana’s direction, with a view to attack him. Therefore, launch an attack on him from the side; forget about the cows for now!” Even before Droṇa finished speaking, Arjuna advanced in his chariot and attacked the army with his arrows after announcing his name. Arrows filled the air and neither sky nor earth could be seen. He then blew his conch and tapped his bow. In that commotion, the terrified cows lifted their tails, flaying them wildly, and ran back towards their home. After getting the cattle to turn back, Arjuna planned to attack Duryodhana but in the meantime, the Kaurava warriors appeared on the scene. Looking at this, Arjuna ordered his chariot to be directed towards Karṇa. Citrasena, Śatrusaha, Jaya, and others locked horns with Arjuna and he burnt their chariots in the fire of his arrows. A tumultuous war began and Vikarṇa came on the scene. After Arjuna destroyed his bow and his flag, he beat a hasty retreat. Śatruntapa then faced Arjuna in single combat and lost his life. In this manner, several youthful warriors lost their lives and rolled on the ground like trees caught in a violent cyclone. Karṇa’s younger brother Saṅgrāmajit faced Arjuna, who killed him with a single arrow. Looking at this Karṇa pounced upon Arjuna like a lion attacking a bull and soon struck him, his charioteer, and his horses with twelve arrows. In response, Arjuna struck arrows like lightning, piercing Karṇa’s shoulders, thighs, forehead, and neck. Unable to endure the pain due to the wounds, Karṇa went away from the forefront of the army. Kṛpa began fighting with new bows; ultimately Arjuna struck at the horses of his chariot and his charioteer, destroying them; then he shot a diamond-like arrow that hit Kṛpa in the chest. Undaunted, Kṛpa threw a mace at Arjuna, who easily struck it with an arrow and sent it back. Thus rendered chariotless and weaponless, he was rescued by his army and whisked away.   

To be continued…

This is an English translation of Prof. A R Krishna Shastri’s Kannada classic Vacanabhārata by Arjun Bharadwaj and Hari Ravikumar published in a serialized form. Thanks to Śatāvadhāni Dr. R Ganesh for his review and astute feedback.

Author(s)

About:

Prof. A R Krishna Sastri was a journalist, scholar, polyglot, and a pioneer of the modern Kannada renaissance, who founded the literary journal Prabuddha Karnāṭaka. His Vacana-bhārata and Kathāmṛta are classics of Kannada literature while his Saṃskṛta-nāṭaka and Bankimacandra are of unrivalled scholarship.

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...