Mahābhārata – Episode 56 –Arjuna Single-handedly Destroys the Kauravas

This article is part 56 of 112 in the series Mahābhārata

After this Arjuna told Uttara to take his chariot to where Droṇa was standing; offering his salutations to Droṇa, he said in a serene voice, “Ācārya, we took up the forest exile only after contemplating about our response; you must not get angry with us; I have decided not to fight with you and therefore I request you to make that happen.” Immediately, Droṇa sent out twenty arrows in Arjuna’s direction. Arjuna intercepted all of them midway and tore them apart. In this manner, the teacher and student were locked in single combat. Both of them were brilliant and endowed with radiance. Both knew the art of divine weapons. Upon seeing their battle, the entire army went into raptures of praise, saying “Wow! Excellent!” Each one dispatched a shower of arrows in the direction of the other that it felt like they were enveloped in thick rain. When their arrows were flying in the air, filling the skies, it appeared like the flight of frightened swans. Elephants, horses, foot soldiers, and others who were wounded by Arjuna’s piercing arrows looked like the red-coloured Flame of the Forest tree in full bloom. The leader of the chariot division, Aśvatthāma laterally entered the fray and began showering arrows on Arjuna just like a rain-bearing cloud pours out torrential rain. In the midst of this battle, getting the slightest opening, Droṇa brought out his chariot from the zone of danger and went away elsewhere at great speed; Arjuna continued his fierce battle with Aśvatthāma when he saw that Karṇa was coming towards him holding a huge bow. Therefore he stopped fighting with Aśvatthāma and lunged towards Karṇa.

He said, “Karṇa! In the heart of the assembly you boasted so much about your prowess in war and how none was your equal on the battlefield; lo and behold, here’s a great opportunity to fight! You sat silently relishing the disrobing of Pāñcālī in the assembly by that wicked soul and for that you shall face the punishment today. Entrapped by dharma, I was forced to remain silent and helpless earlier; now come and fight me; I will battle you; let the Kauravas watch!” In this manner, Arjuna mocked Karṇa.

Karṇa replied, “Pārtha! Do with your hands that which you boast with your mouth; it is well-known that actions speak louder than words. Earlier, you tolerated it because of your incompetence. What dharma trapped you then, and what is not trapping you now? If you want to break your promise of forest exile and wish to fight me, come. Even if Indra fights on your behalf, I have no fear!”

“Karṇa, just now you were engaged in single combat with me and you ran away. That’s why you’re alive. After letting your brother die and running away from the frontlines of the army who else but you will come back like this and speak such words?” said Arjuna before releasing a series of shafts on Karṇa. He deftly stopped them all by hurling arrows in response. But soon, his bow was broken by Arjuna. His powerful weapons fell down. The arrows that pierced his armour caused him great pain; due to the pain of the wounds, his eyes were blacking out; his mind was seeing visions and he began hallucinating. Therefore, Karṇa left the battlefield once again and drove to a northern direction.

In this manner, Arjuna defeated Karṇa and directed his chariot to where Bhīṣma was standing. As he approached the grandsire, he was blocked midway by Duśśāsana, Dussaha, Viviṃśati, Droṇa, Aśvatthāma, Kṛpa, and others. But none of them were able to stay firm. They had to retreat with complete loss of energy and enthusiasm. Bhīṣma and Arjuna stood face to face; Bhīṣma shot at Arjuna’s flag and brought down the banner of Hanumān; in response, Arjuna tore down Bhīṣma’s flag. After this, a tumultuous battle ensued. When Arjuna attacked Bhīṣma with arrows, it looked like a torrential rain striking a huge mountain. Bhīṣma deftly destroyed all those arrows and sent a series of shafts aimed at Arjuna. Both were great warriors, experts in warfare, highly skilled in the art of divine weapons; therefore an equal battle took place for a long time. Finally, Arjuna took an arrow with the feathers of a vulture and destroyed Bhīṣma’s bow; then he pierced Bhīṣma’s chest. Pained at that, Bhīṣma rested against the side of the chariot. Seeing that he was unconscious, Bhīṣma’s charioteer turned the chariot and took him away elsewhere so that he may be protected, just as he had been instructed to do. Duryodhana himself had to come on the scene; even as he entered he took aim at Arjuna’s forehead and threw a huge spear at a great pace. Arjuna was wounded by it and hot blood was steaming out of his forehead, making it appear like a golden necklace. Fired up by anger, Arjuna attacked Duryodhana with arrows like resembled poisonous fire. At this point, Vikarṇa, who was perched on an elephant with four chariots by his side, attacked Arjuna; with a single stroke Arjuna struck at the head of the elephant and tore it apart. It fell down like a huge mountain on the battlefield. With another arrow, Arjuna struck at Duryodhana’s chest; in great pain, he had his chariot turned in the opposite direction and rode away. At this point, looking at him Arjuna said, “Where are you going, retreating from battle, Duryodhana! The call for ceasing the battle for the day has not been raised! Look, I’m standing firmly here. Turn back, come here! Show me your face! Recall the duties of a king! How can a person who runs away from battle have a name like Duryodhana; will it be appropriate!” When Arjuna mocked him with these words, like an elephant struck with the goad, the deeply distressed Duryodhana returned. Seeing him get back to the center, Karṇa joined him to his right side. Bhīṣma recovered and came behind Duryodhana to protect him. Droṇa, Kṛpa, Viviṃśati, Duśśāsana, and others too returned to the scene of action. With the entire Kaurava army returning to their posts and attacking Arjuna, he pounced on them like a swan flying high over the rain-laden cloud. They surrounded him and showered arrows on him like a rain-cloud engulfs a mountain. They used divine weapons against him; he responded with the right sort of arrow against every single one that was hurled at him and finally used the Sammohanāstra against them. He filled all the directions with his numerous arrows and the fearsome twang of his Gāṇḍīva shook the hearts of the enemy, making them tremble in fear. Soon after, he picked up his great conch with both hands and blew it, filling the earth and the skies with its sound. Just upon listening to it, the Kaurava heroes were silenced.

Arjuna remembered the words of Uttarā and told his charioteer, “O prince! All the Kauravas have fallen on the ground, unconscious; now let the chariot go amidst them; go and pick up the white-coloured cloth pieces of Droṇa and Kṛpa, Karṇa’s yellow-coloured cloth, and the blue cloth of Aśvatthāma and Duryodhana. Don’t go near Bhīṣma, for he might be awake; he knows the antidote to my weapon.” As per Arjuna’s instructions, Uttara took the chariot forward, climbed down, and went around picking all the colourful pieces of cloth. As he was walking back with the war mementos in hand, Bhīṣma saw him and shot arrows at him. Arjuna responded with a slew of arrows; he did not harm Bhīṣma but struck at his horses and his charioteers. He emerged from the group of enemy chariots like the sun emerging out of an eclipse, free from any covering. In the mean time, Duryodhana awoke from his stupor; seeing Arjuna going all alone in the middle of the army, they said, “How did he escape from us? Why didn’t you all capture him?” When he was thus berating his army, Bhīṣma responded to those words with a laugh. He said, “Duryodhana, where has your intelligence and your spirit of courage gone? Why had you fallen down noiselessly, letting go of your bow and arrows? Arjuna is not a cruel man; he will not commit a sin; therefore all of us have escaped alive in today’s war. O great warrior of the Kurus, better get back home quickly; let Pārtha take the cows and go away!” Upon listening to these words spoken by Bhīṣma in his own interest, Duryodhana heaved a sigh and remained silent, having been rid of all enthusiasm for war. Assessing the situation and examining what was in his interest, Duryodhana decided that it would be best if his army protected him and retreated to their capital, given that the Arjuna-fire was only becoming fiercer.

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...