The Daily Gita Project

By Rajeev Kurapati

"The Daily Gita Project" is a complete word-to-word translation with succinct commentaries on all 700 verses of the Bhagavad Gita, presented in a way that is relevant to the modern reader. It is an enriching and accessible guide designed to bring the profound teachings of the Bhagavad Gita into everyday life.

Through its dialogue between Arjuna and Lord Krishna, the Bhagavad Gita addresses the core dilemmas faced by humanity, offering profound insights into the art of living. The Gita's teachings on dharma and mokṣa illuminate the dual purposes of our lives—the worldly and the spiritual—encouraging us to perform our duties with detachment and to seek the ultimate truth of our eternal self.

• Language: English
• Publisher: Babhuva
• Release date: May 31, 2024
• ISBN: 9798224438204

Rajeev Kurapati

Dr. Rajeev Kurapati is a medical practitioner, philosopher, author, and speaker whose expertise spans the past, present, and future of medicine. With a distinguished career in healthcare, he brings a unique perspective to the field, blending his medical knowledge with profound philosophical insights. Dr. Kurapati is also an accomplished author, having received awards for three thought-provoking books. As a speaker, he shares his wisdom on the evolving landscape of healthcare, bridging the gap between ancient wisdom and modern science. Dr. Kurapati's commitment to both healing and enlightenment embodies a holistic approach to wellness and the pursuit of knowledge.

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About The Daily Gita Project

T he Daily Gita Project is an enriching and accessible guide designed to bring the profound teachings of the Bhagavad Gita into everyday life. This book features translations and succinct commentaries on all the 700 verses across 18 chapters, presented in a manner relevant to contemporary readers. 

Structure and Format: The book is structured to cover one verse per page, spanning the entire Gita. This format encourages a consistent reading practice of at least one verse (page) per day. Blank spaces for notes and reflections are intentionally provided on each page.

Translation and Commentary: Each verse is presented in Sanskrit and English, with a word-by-word breakdown and a translation, followed by a concise commentary. The commentary aims to unpack the spiritual and philosophical meanings of the verse. 

Integration of Spiritual and Practical Wisdom: The book strives to balance spiritual insights with practical advice. The verses of the Gita, which cover a wide range of topics from duty and righteousness to meditation and self-realization, were interpreted in ways that readers can apply in their personal and professional lives.

Thematic Exploration: The Bhagavad Gita explores various themes such as the nature of reality, the self, duty, ethics, and the path to liberation. It also delves into the concept of yoga in its various forms. 

Daily Reflection and Application: Readers are encouraged to reflect on the teachings, internalize them, and apply them in their daily lives. This includes everything from meditative practices to ethical considerations and challenges for personal growth. 

In essence, The Daily Gita Project offers wisdom and guidance to navigate life’s challenges with greater clarity and purpose. 

The Bhagavad Gita

The Bhagavad Gita is found in the Bhishma Parva, the sixth of the eighteen sections (parvas) of the Mahabharata, the great Indian epic, which comprises approximately 100,000 ślokas or verses. The Bhishma Parva details the first phase of the grand battle of Kurukshetra between the Pandavas and the Kauravas, lasting eighteen days. Notably, the Bhagavad Gita itself consists of eighteen chapters.     

Arjuna’s Crisis

As the battle of Kurukshetra is about to begin, Arjuna is gripped by sorrow and despair at the thought of the inevitable bloodshed and the destruction of families. His crisis is not just about the physical battle but represents the inner conflict faced by individuals when confronted with difficult choices in life, especially those involving ethical and moral dilemmas. 

The Bhagavad Gita is a dialogue between Prince Arjuna and Lord Krishna, who serves as his charioteer and spiritual guide.     

Krishna’s Resolution

Krishna imparts to Arjuna a profound vision to navigate the complexities of life. This vision offers the clarity needed to dispel ignorance and fosters an inner transformation, equipping Arjuna to effectively confront life’s challenges. 

The teachings of Krishna are not just meant for Arjuna’s dilemma but serve as a timeless guide for all of us. These teachings delve into the essence of life itself, offering profound insights for anyone grappling with existential crises.   

Whether we face moral quandaries, moments of doubt, or the challenge of making significant life decisions, Krishna’s wisdom provides a beacon of clarity. It encourages a deeper understanding of our life’s purpose, our responsibilities, and the path to inner peace and fulfillment.   

The Battlefield Setting

The setting of the Bhagavad Gita’s discourse in the midst of a battlefield and the timing of Krishna’s teachings to Arjuna are not arbitrary but carry deep philosophical significance. 

The main reasons why the battlefield was chosen as the setting for this profound dialogue are:

Metaphor for Life’s Struggles: Kurukshetra represents the internal battles against desires, attachments, and ethical dilemmas, highlighting the Gita’s relevance to personal struggles beyond physical warfare.

Urgency and Relevance: The critical situation of the battlefield emphasizes the immediate need for Krishna’s teachings, offering practical guidance for living with righteousness and spiritual wisdom during crises.

Demonstration of Detachment: The extreme conditions underscore lessons on detachment and performing duties without attachment to outcomes, illustrating the challenge of maintaining focus amidst adversity.

Emphasis on Dharma: The backdrop of war serves to explore the concept of Dharma, with Arjuna’s duty as a warrior against his personal conflicts exemplifying the complexities of following one’s righteous duty.

Under Krishna’s guidance, Arjuna transitions from confusion and despair to clarity and understanding. 

A

Guide to Righteous Living and Spiritual Liberation

The Bhagavad Gita is often described as both a Dharma Śāstra and a Mokṣa Śāstra, reflecting its profound teachings on righteous living and spiritual liberation.

Dharma Śāstra: The Path of Righteousness

As a Dharma Śāstra, the Bhagavad Gita provides insights into the nature of duty, morality, and ethical living. Dharma represents the moral order that sustains the universe, society, and individual life. Krishna’s teachings guide Arjuna (and the reader) through this moral quandary, emphasizing the importance of performing one’s duty (sva-dharma) with detachment from the fruits of actions. This guidance helps in navigating life’s challenges while adhering to one’s moral and ethical responsibilities, making the Gita a vital guide for righteous living. 

Mokṣa Śāstra: The Path to Liberation

As a Mokṣa Śāstra, the Bhagavad Gita outlines the paths to spiritual liberation, offering a roadmap to transcend the cycle of birth and death (samsara) and attain union with the divine. Mokṣa or liberation, is considered the ultimate goal of human. The Gita discusses various paths to achieve this spiritual goal, including Karma Yoga (the path of selfless action), Bhakti Yoga (the path of devotion), and Jñāna Yoga (the path of knowledge). It teaches that by understanding one’s true nature as the eternal Ātman (soul) and realizing the oneness with Brahman (the ultimate reality), an individual can achieve Mokṣa. 

The Bhagavad Gita’s dual description as a Dharma Śāstra and a Mokṣa Śāstra underscores its comprehensive approach to human life, offering guidance on living a righteous life while also pursuing spiritual enlightenment.  

IAST Transliteration key

IAST stands for International Alphabet of Sanskrit Transliteration. The purpose of IAST is to provide a standardized and consistent way to write Sanskrit and Indic scripts using Roman letters, making it easier for people who are not familiar with the native script to read and pronounce words accurately.

Key Concepts

Significance of ‘Yoga’ in Bhagavad Gita Chapter Titles

Every chapter name in the Bhagavad Gita ends with yoga because each chapter focuses on an aspect of spiritual discipline and practice leading to union with the divine. Yoga signifies the method or journey of spiritual realization and integration, underscoring the Gita’s comprehensive guide to achieving spiritual union with the divine. 

Contextual Variability

Contextual variability refers to how the meaning of words or phrases can vary significantly depending on their use within specific context. In the Bhagavad Gita this variability is notably prominent and involves:

Multiple Meanings: Grasping the diverse interpretations of terms such as Dharma, Ātman, Maya, Mokṣa, Yoga etc., requires a deep understanding of their context, ensuring their nuanced meanings are fully appreciated. 

Literary Devices: Recognizing and interpreting metaphors, allegories, and other devices within their textual context is essential for grasping the Gita’s layered meanings.

Scholarly Commentaries: Traditional and contemporary interpretations offer varied perspectives, enriching our understanding of the text through different philosophical viewpoints such as Advaita, Dvaita, Viśiṣṭādvaita and other schools of Vedanta.

Repetition to reinforce key teachings

Repetition is a common tool in many spiritual and philosophical texts, including the Bhagavad Gita. By repeating crucial concepts across various verses, Krishna reinforces their importance, ensuring that the teachings are clearly understood and deeply ingrained in Arjuna’s mind and, by extension, in the minds of the readers. 

ध्यान श्लोकाः

Dhyāna ślokāḥ

Before beginning the study of the Bhagavad Gita, nine Dhyāna ślokāḥ (meditative verses) are traditionally recited in reverence. These verses, not part of the Gita’s 18 chapters, serve as an invocation that honors the Gita, Lord Krishna, Sage Vyasa, and its divine teachings. Traditionally attributed to Madhusudana Saraswati, a prominent Vedanta philosopher, these verses have been added over time by scholars and practitioners to facilitate deeper engagement with the Gita’s teachings. 

ॐ पार्थाय प्रतिबोधितां भगवता नारायणेन स्वयं

व्यासेन ग्रथितां पुराणमुनिना मध्येमहाभारतम् I

अद्वैतामृतवर्षिणीं भगवतीमष्टादशाध्यायिनीं

अम्ब त्वामनुसंदधामि भगवद्गीते भवद्वेषिणीम् II १ II

Om pārthāya pratibodhitāṁ bhagavatā nārāyaṇena svayaṁ

vyāsena grathitāṁ purāṇamuninā madhyemahābhāratam I

advaitāmṛtavarṣiṇīṁ bhagavatīmaṣṭādaśādhyāyinīṁ

amba tvāmanusaṁdadhāmi bhagavadgīte bhavadveṣiṇīm II 1 II

I meditate upon the Bhagavad Gita, which was imparted to Arjuna by Lord Narayana Himself, composed in the middle of the Mahabharata by the ancient sage Vyasa, the showerer of the nectar of non-duality, the blessed goddess with eighteen chapters. I meditate upon you, O Gita, the destroyer of rebirth. 

नमोऽस्तु ते व्यास विशालबुद्धे फुल्लारविंदायतपत्रनेत्र I

येन त्वया भारततैलपूर्णः प्रज्वालितो ज्ञानमयः प्रदीपः II २ II

namo’stu te vyāsa viśālabuddhe phullāraviṁdāyatapatranetra I

yena tvayā bhāratatailapūrṇaḥ prajvālito jñānamayaḥ pradīpaḥ II 2 II

Salutations to you, O Vyasa, with the vast intellect, whose eyes are like the petals of a blooming lotus. By you, the lamp filled with the oil of the Mahabharata has been lit, illuminating [the world] with the light of wisdom.

प्रपन्नपारिजाताय तोत्रवेत्रैकपाणये I

ज्ञानमुद्राय कृष्णाय गीतामृतदुहे नमः II ३ II

prapannapārijātāya totravetraikapāṇaye I

jñānamudrāya kṛṣṇāya gītāmṛtaduhe namaḥ II 3 II

Salutations to Krishna, the refuge of all devotees, holding a whip in one hand and the symbol of wisdom in the other, who milks the nectar of the Gita.

सर्वोपनिषदो गावो दोग्धा गोपालनन्दनः I

पार्थो वत्सः सुधीर्भोक्ता दुग्धं गीतामृतं महत् II ४ II

sarvopaniṣado gāvo dogdhā gopālanandanaḥ I

pārtho vatsaḥ sudhīrbhoktā dugdhaṁ gītāmṛtaṁ mahat II 4 II

All the Upanishads are the cows; the milker is Krishna, the cowherd boy. Arjuna is the calf; the wise are the drinkers; the milk is the great nectar of the Gita.

वसुदेवसुतं देवं कंसचाणूरमर्दनम् I

देवकीपरमानन्दं कृष्णं वन्दे जगद्गुरुम् II ५ II

vasudevasutaṁ devaṁ kaṁsacāṇūramardanam I

devakīparamānandaṁ kṛṣṇaṁ vande jagadgurum II 5 II

I bow to Krishna, the son of Vasudeva, the divine, the destroyer of Kamsa and Chanura, the Supreme joy of Devaki, and the universal guru.

भीष्मद्रोणतटा जयद्रथजला गांधारनीलोत्पला

शल्यग्राहवती कृपेण वहनी कर्णेन वेलाकुला I

अश्वत्थामविकर्णघोरमकरा दुर्योधनावर्तिनी

सोत्तीर्णा खलु पांडवै रणनदी कैवर्तकः केशवः II ६ II

bhīṣmadroṇataṭā jayadrathajalā gāṁdhāranīlotpalā

śalyagrāhavatī kṛpeṇa vahanī karṇena velākulā I

aśvatthāmavikarṇaghoramakarā duryodhanāvartinī

sottīrṇā khalu pāṁḍavai raṇanadī kaivartakaḥ keśavaḥ II 6 II

Across the river of battle, with Bhishma and Drona as its banks, Jayadratha as the water, the Gandhara king as the blue lotus, Shalya as the shark, Kripa as the current, Karna as the breaker of waves, Ashwatthama and Vikarna as the dreadful crocodiles, and Duryodhana as the whirlpool — indeed, the Pandavas crossed it with Kesava as their helmsman.

पाराशर्यवचःसरोजममलं गीतार्थगन्धोत्कटं

नानाख्यानककेसरं हरिकथासद्वासनावासितम् I

लोके सज्जनषट्पदैरहरहः पेपीयमानं मुदा

भूयाद्भारतपंकजं कलिमलप्रध्वंसि नः श्रेयसे II ७ II

pārāśaryavacaḥsarojamamalaṁ gītārthagandhotkaṭaṁ

nānākhyānakakesaraṁ harikathāsadvāsanāvāsitam I

loke sajjanaṣaṭpadairaharahaḥ pepīyamānaṁ mudā

bhūyādbhāratapaṁkajaṁ kalimalapradhvaṁsi naḥ śreyase II 7 II

May the lotus of the Mahabharata, born from the words of Parashara’s son (Vyasa), which is pure and spotless, imbued with the fragrance of the meaning of the Gita, adorned with the pollen of various stories, and scented with the essence of Hari’s tales, that is joyously drunk day by day by the good people of the world like bees, bring us welfare by destroying the sins of the Kali age.

मूकं करोति वाचालं पंगुं लंघयते गिरिम् I

यत्कृपा तमहं वन्दे परमानन्दमाधवम् II ८ II

mūkaṁ karoti vācālaṁ paṁguṁ laṁghayate girim I

yatkṛpā tamahaṁ vande paramānandamādhavam II 8 II

I salute that Madhava, the Supreme Bliss, whose grace makes the mute eloquent and the lame cross mountains.

यं ब्रह्मा वरुणेन्द्ररुद्रमरुतः स्तुन्वन्ति दिव्यैः स्तवैः

वेदैः सांगपदक्रमोपनिषदैर्गायन्ति यं सामगाः I

ध्यानावस्थिततद्गतेन मनसा पश्यन्ति यं योगिनो

यस्यान्तं न विदुः सुरासुरगणा देवाय तस्मै नमः II ९ II

yaṁ brahmā varuṇendrarudramarutaḥ stunvanti divyaiḥ stavaiḥ

vedaiḥ sāṁgapadakramopaniṣadairgāyanti yaṁ sāmagāḥ I

dhyānāvasthitatadgatena manasā paśyanti yaṁ yogino

yasyāntaṁ na viduḥ surāsuragaṇā devāya tasmai namaḥ II 9 II

I bow to that divine entity whom Brahma, Varuna, Indra, Rudra, and the Maruts praise with divine hymns, whom the singers of the Sama Veda glorify with the Vedas, Sama, Pada, Krama, and Upanishads, whom the yogis see with their minds absorbed in meditation, and whose limits are not known to the hosts of gods and demons. 

Chapter 1

Arjuna Viṣhāda Yoga

This chapter sets the stage for the epic dialogue between Krishna and Arjuna. It begins with the preparation for the great battle of Kurukshetra and ends with Arjuna’s moral crisis, leading to his refusal to fight. 

It lays the foundational dilemma that prompts the teachings of the Bhagavad Gita, highlighting the themes of duty, righteousness, and the inner conflicts faced by individuals at the crossroads of significant moral and ethical decisions. It has 47 verses. 

Breakdown of key topics by verses: 

Verses 1-11: Dhritarashtra asks Sanjaya to describe the Kurukshetra battlefield scene. Sanjaya, with divine vision, narrates the array of both armies, highlighting Duryodhana’s assessment and the mention of key Pandava warriors.

Verses 12-19: Key warriors from both sides, including Krishna and Arjuna, blow their conches, marking the battle’s start with a sound that fills the battlefield.

Verses 20-30: Arjuna sees familiar faces in both armies, leading to a deep moral conflict. He questions the war’s righteousness and the worth of victory at such a cost.

Verses 31-47: Reflecting on the war’s destructive consequences, Arjuna feels overwhelmed by sorrow and decides he cannot fight, ending the chapter in despair.

धृतराष्ट्र उवाच I

धर्मक्षेत्रे कुरुक्षेत्रे समवेता युयुत्सवः I

मामकाः पाण्डवाश्चैव किमकुर्वत सञ्जय II १-१ II

Dhṛitarāśhtra uvāca I

dharma-kṣhetre kuru-kṣhetre samavetā yuyutsavaḥ I

māmakāḥ pāṇḍavāśhchaiva kimakurvata sañjaya II 1-1 II

धृतराष्ट्र: उवाच (Dhṛtarāṣṭraḥ uvāca): Dhritarashtra said; धर्मक्षेत्रे (dharmakṣetre): in the field of dharma (righteousness); कुरुक्षेत्रे (Kurukṣetre): in Kurukshetra (the name of the battlefield); समवेता: (samavetāḥ): assembled; युयुत्सवः (yuyutsavaḥ): desiring to fight; मामकाः (māmakāḥ): my sons (the Kauravas); पाण्डवाः (Pāṇḍavāḥ): the sons of Pandu (the Pandavas); च (ca): and; एव (eva): indeed; किम् (kim): what; अकुर्वत (akurvata): did they do; सञ्जय (Saṅjaya): Sanjaya (the charioteer and narrator).

Dhritarashtra said: In the field of righteousness, Kurukshetra, where my sons and the sons of Pandu have assembled, desiring to fight, what did they do, O Sanjaya?

This opening verse sets the stage for the entire Bhagavad Gita. Dhritarashtra, the blind king, inquires about the events on the battlefield of Kurukshetra. He refers to Kurukshetra as Dharmakṣetre, or the field of dharma, which indicates the significance of the battlefield as a place where moral and ethical dilemmas will unfold.

The use of Māmakāḥ and Pāṇḍavāḥ shows Dhritarashtra’s personal attachment to his sons, the Kauravas, and his distinction between them and the Pandavas. This attachment and partiality are symbolic of his blindness, not just physical but also moral and spiritual.

Dhritarashtra’s question to Sanjaya, his charioteer who has been granted divine vision to see and narrate the events of the battlefield, reveals his anxiety and concern about the outcome of the war.

सञ्जय उवाच I

दृष्ट्वा तु पाण्डवानीकं व्यूढं दुर्योधनस्तदा I

आचार्यमुपसङ्गम्य राजा वचनमब्रवीत् II १-२ II

Sañjaya uvāca I

dṛiṣhṭvā tu pāṇḍavānīkaṁ vyūḍhaṁ duryodhanastadā I

āchāryamupasaṅgamya rājā vachanamabravīt II 1-2 II

सञ्जय: उवाच (Saṅjayaḥ uvāca): Sanjaya said; दृष्ट्वा (dṛṣṭvā): having seen; तु (tu): but, indeed; पाण्डवानीकम् (pāṇḍavānīkaṃ): the army of the Pandavas; व्यूढम् (vyūḍhaṃ): arranged, arrayed; दुर्योधन: तदा (Duryodhaḥ tadā): Duryodhana then; आचार्यम् (ācāryam): to the teacher (Drona); उपसङ्गम्य (upasaṅgamya): having approached; राजा (Rājā): the King; वचनम् (vacanam): words, speech; अब्रवीत् (abravīt): spoke.   

Sanjaya said: Having seen the Pandava army arrayed, Duryodhana then approached his teacher Drona and spoke these words.

Sanjaya begins to describe the scene on the battlefield to King Dhritarashtra. Duryodhana, the prince of the Kauravas, observes the Pandava army, which is well-organized and ready for battle.

Duryodhana approaches his teacher, Dronacharya, who is one of the most respected and skilled warriors in the Kaurava army. Dronacharya is also a significant figure because he was the martial teacher of both the Pandavas and the Kauravas.

This verse sets the stage for the ensuing dialogue and the events leading up to the great battle of Kurukshetra. It highlights the tension and anticipation on the battlefield just before the war begins.

पश्यैतां पाण्डुपुत्राणामाचार्य महतीं चमूम् I

व्यूढां द्रुपदपुत्रेण तव शिष्येण धीमता II १-३ II

paśhyaitāṁ pāṇḍu-putrāṇām āchārya mahatīṁ chamūm I

vyūḍhāṁ drupada-putreṇa tava śhiṣhyeṇa dhīmatā II 1-3 II

पश्य (paśya): behold, see; एताम् (etāṃ): this; पाण्डुपुत्राणाम् (pāṇḍuputrāṇām): of the sons of Pandu (the Pandavas); आचार्य (ācārya): teacher (addressing Dronacharya); महतीम् (mahatīṃ): great, large; चमूम् (camūm): army; व्यूढाम् (vyūḍhāṃ): arrayed, arranged; द्रुपदपुत्रेण (Drupadaputreṇa): by the son of Drupada (Dhrishtadyumna); तव (tava): your; शिष्येण (śiṣyeṇa): disciple, student; धीमता (dhīmatā): the wise, the intelligent.

Behold, O teacher, this great army of the sons of Pandu, arrayed by your wise disciple, the son of Drupada (Dhrishtadyumna).

Duryodhana addresses his teacher Dronacharya, drawing his attention to the Pandava army. He emphasizes the size and strength of the opposing forces. This is likely an attempt to highlight the formidable challenge they face and perhaps to subtly question Drona’s loyalty, given his past connections to the Pandavas.

Duryodhana specifically points out that the Pandava army is arranged by Dhrishtadyumna, the son of Drupada. Dhrishtadyumna is a significant figure because he is destined to be the killer of Dronacharya according to the story of the Mahabharata.

Duryodhana’s words are strategic, as he seeks to invoke a sense of urgency and caution in Dronacharya. This verse sets the tone for the psychological and moral complexities that unfold in the Mahabharata’s narrative, highlighting the intertwined relationships and loyalties among the characters.

अत्र शूरा महेष्वासा भीमार्जुनसमा युधि I

युयुधानो विराटश्च द्रुपदश्च महारथ: II १-४ II

atra śhūrā maheṣhvāsā bhīmārjuna-samā yudhi I

yuyudhāno virāṭaśhcha drupadaśhcha mahā-rathaḥ II 1-4 II

अत्र (atra): here, in this (army); शूरा (śūrā): valiant; महेष्वासा: (maheṣvāsāḥ): great archers; भीमार्जुनसमा: (Bhīmārjunasamāḥ): equal to Bhima and Arjuna; युधि (yudhi): in battle; युयुधान: (Yuyudhānaḥ): Yuyudhana (another name for Satyaki); विराट: च (Virāṭaḥ ca): Virata and; द्रुपद: च (Drupadaḥ ca): Drupada and; महारथ: (mahārathaḥ): great chariot-warrior.

Here in this (army), there are many valiant warriors and great archers, who are equal to Bhima and Arjuna in battle. Among them are Yuyudhana (Satyaki), Virata, and Drupada, the great chariot-warrior.

Duryodhana highlights the strength of the Pandava army by naming some of its most formidable warriors. He acknowledges the presence of warriors who are on par with Bhima and Arjuna, two of the most renowned warriors among the Pandavas. 

Yuyudhana, also known as Satyaki, is a disciple of Arjuna and a renowned warrior. King Virata, in whose kingdom the Pandavas spent their final year of exile incognito, is also a mighty warrior. Drupada, the father of Draupadi (the Pandavas’ wife) and Dhrishtadyumna (the commander of the Pandava army), is another powerful warrior and charioteer.

By listing these warriors, Duryodhana is not only assessing the strength of the Pandava army but also possibly trying to psychologically prepare Dronacharya for the battle, emphasizing the need for his full commitment and prowess. This verse sets the tone for the immense scale of the battle and the caliber of warriors involved, underscoring the epic nature of the Mahabharata’s Kurukshetra war.

धृष्टकेतुश्चेकितान: काशिराजश्च वीर्यवान् I

पुरुजित्कुन्तिभोजश्च शैब्यश्च नरपुङ्गव: II १-५ II

dhṛiṣhṭaketuśhchekitānaḥ kāśhirājaśhcha vīryavān I

purujit kuntibhojaśhcha śhaibyaśhcha nara-puṅgavaḥ II 1-5 II

धृष्टकेतुः (Dhṛṣṭaketuḥ): Dhristaketu; चेकितानः (Cekitānaḥ): Chekitana; काशिराजः (Kāśirājaḥ): the king of Kashi; च (ca): and; वीर्यवान् (vīryavān): valiant; पुरुजित् (Purujit): Purujit; कुन्तिभोजः (Kuntibhojaḥ): Kuntibhoja; च (ca): and; शैब्यः (śaibyaḥ): Shaibya; च (ca): and; नरपुङ्गवः (narapuṅgavaḥ): best among men.

Dhristaketu, Chekitana, and the valiant king of Kashi; Purujit, Kuntibhoja, and Shaibya, the best among men.

Duryodhana continues to list the notable warriors in the Pandava army, emphasizing their strength and valor.

Duryodhana’s mention of these warriors to Dronacharya serves multiple purposes. It not only highlights the military challenge posed by the Pandava army but also subtly reminds Dronacharya of his duty to fight with full commitment for the Kaurava side, despite his past associations with many warriors in the Pandava camp.

This verse adds to the buildup of the impending great battle, showcasing the array of celebrated warriors set to participate in the epic conflict of the Mahabharata.

युधामन्युश्च विक्रान्त उत्तमौजाश्च वीर्यवान् I

सौभद्रो द्रौपदेयाश्च सर्व एव महारथा: II १-६ II

yudhāmanyuśhcha vikrānta uttamaujāśhcha vīryavān I

saubhadro draupadeyāśhcha sarva eva mahā-rathāḥ II 1-6 II

युधामन्यु: (Yudhāmanyuḥ): Yudhamanyu; च (ca): and; विक्रान्त: (vikrāntaḥ): valiant; उत्तमौजा: (uttamaujāḥ): excellent; च (ca): and; वीर्यवान् (vīryavān): powerful, heroic; सौभद्र: (Saubhadrāḥ): the son of Subhadra (Abhimanyu); द्रौपदेया: च (Draupadeyāḥ ca): the sons of Draupadi and; सर्व (sarva): all; एव (eva): indeed; महारथा: (mahārathāḥ): great chariot-warriors.

Yudhamanyu and the valiant Uttamauja, the son of Subhadra (Abhimanyu), and the sons of Draupadi, all are indeed great chariot-warriors.

Duryodhana continues to describe the strength of the Pandava army to his teacher Dronacharya. He mentions several key warriors, highlighting their valor and prowess.

The term Mahārathāḥ refers to warriors capable of fighting thousands of soldiers single-handedly.

Duryodhana’s enumeration of these warriors serves to emphasize the formidable challenge faced by the Kaurava army. It also reflects Duryodhana’s concern about the strength of his opponents, setting the stage for the epic battle that is about to unfold in the Kurukshetra war.

अस्माकं तु विशिष्टा ये तान्निबोध द्विजोत्तम I

नायका मम सैन्यस्य संज्ञार्थं तान्ब्रवीमि ते II १-७ II

asmākaṁ tu viśhiṣhṭā ye tānnibodha dwijottama I

nāyakā mama sainyasya sanjñārthaṁ tānbravīmi te II 1-7 II

अस्माकम् (asmākaṃ): of us; तु (tu): but, indeed; विशिष्टा: (viśiṣṭāḥ): distinguished; ये (ye): who; तान् (tān): them; निबोध (nibodha): know, understand; द्विजोत्तम (dvijottama): O best of the twice-born (addressing Dronacharya); नायका: (nāyakāḥ): commanders; मम (mama): my; सैन्यस्य (sainyasya): of the army; संज्ञार्थम् (saṅjñārthaṃ): for the purpose of identification; तान् (tān): them; ब्रवीमि (bravīmi): I speak, I say; ते (te): to you.  

However, O best of the brahmanas, please be informed about those who are distinguished among us, the leaders of my army; I shall now tell you about them for your information.

Duryodhana shifts his focus from the Pandava army to his own, the Kaurava army. He addresses Dronacharya, referring to him as Dvijottama, which means the best among the twice-born, a term used for those who have undergone the sacred thread ceremony. 

Duryodhana wants to inform Dronacharya about the distinguished warriors in his army.

This verse sets the stage for Duryodhana’s subsequent description of the heroes in the Kaurava army. It reflects the buildup to the great battle of Kurukshetra, highlighting the importance of leadership and the prowess of individual warriors in ancient warfare.

भवान्भीष्मश्च कर्णश्च कृपश्च समितिञ्जय: I

अश्वत्थामा विकर्णश्च सौमदत्तिस्तथैव च II १-८ II

bhavānbhīṣhmaśhcha karṇaśhcha kṛipaśhcha samitiñjayaḥ I

aśhvatthāmā vikarṇaśhcha saumadattis tathaiva cha II 1-8 II

भवान् (bhavān): you (referring to Dronacharya); भीष्मः (Bhīṣmaḥ): Bhishma; च (ca): and; कर्णः (Karṇaḥ): Karna; च (ca): and; कृपः (Kṛpaḥ): Kripa; च (ca): and; समितिञ्जयः (samitiñjayaḥ): victorious in battle; अश्वत्थामा (Aśvatthāmā): Ashwatthama; विकर्णः (Vikarṇaḥ): Vikarna; च (ca): and; सौमदत्तिः (Saumadattiḥ): the son of Somadatta (Bhurishrava); तथैव (tathaiva): as well; च (ca): and. 

You, Bhishma, Karna, Kripa, who is victorious in battle, Ashwatthama, Vikarna, and the son of Somadatta (Bhurishrava), as well.

Duryodhana names the principal warriors of the Kaurava army to Dronacharya, highlighting their prowess and importance.

Bhishma: The grand old patriarch of the Kuru dynasty, known for his wisdom, valor, and commitment to duty.

Karna: A formidable warrior and the secret half-brother of the Pandavas, known for his archery skills and loyalty to Duryodhana.

Kripa (Kṛpaḥ): Another revered teacher and a skilled warrior, known as Samitiñjayaḥ (victorious in battle).

Ashwatthama: The son of Dronacharya, a fierce warrior known for his bravery and martial skills.

Vikarna: One of the Kaurava brothers, noted for his skills in warfare.

The son of Somadatta (Saumadattiḥ): Bhurishrava, a respected warrior known for his prowess in battle.

Duryodhana’s enumeration of these warriors serves to reassure himself and Dronacharya of the strength and capability of the Kaurava army.

अन्ये च बहव: शूरा मदर्थे त्यक्तजीविता: I

नानाशस्त्रप्रहरणा: सर्वे युद्धविशारदा: II १-९ II

anye cha bahavaḥ śhūrā madarthe tyaktajīvitāḥ I

nānā-śhastra-praharaṇāḥ sarve yuddha-viśhāradāḥ II 1-9 II

अन्ये (anye): others; च (ca): and; बहवः (bahavaḥ): many; शूरा: (śūrāḥ): brave, valiant; मदर्थे (madarthe): for my sake; त्यक्तजीविताः (tyaktajīvitāḥ): ready to lay down their lives; नानाशस्त्रप्रहरणाः (nānāśastrapraharaṇāḥ): equipped with various weapons; सर्वे (sarve): all; युद्धविशारदाः (yuddhaviśāradāḥ): skilled in warfare.

Many other brave warriors also, who are ready to lay down their lives for my sake, are equipped with various weapons and all are skilled in warfare.

Duryodhana emphasizes the strength and dedication of the other warriors in his army, beyond the prominent names he has already mentioned. The phrase Madarthe Tyaktajīvitāḥ indicates the loyalty and commitment of these warriors to Duryodhana’s cause, highlighting their readiness to fight unto death.

This verse serves to bolster the morale of the Kaurava side by emphasizing the sheer number and dedication of their warriors. It also reflects Duryodhana’s confidence in the strength and capabilities of his army, setting the stage for the epic battle of Kurukshetra. The mention of the warriors’ readiness to sacrifice their lives also adds to the gravity and intensity of the impending war.

अपर्याप्तं तदस्माकं बलं भीष्माभिरक्षितम् I

पर्याप्तं त्विदमेतेषां बलं भीमाभिरक्षितम् II १-१० II

aparyāptaṁ tadasmākaṁ balaṁ bhīṣhmābhirakṣhitam I

paryāptaṁ tvidameteṣhāṁ balaṁ bhīmābhirakṣhitam II 1-10 II

अपर्याप्तम् (aparyāptaṃ): unlimited; तत् (tat): that; अस्माकम् (asmākaṃ): our; बलम् (balaṃ): strength, army; भीष्माभिरक्षितम् (Bhīṣmābhirakṣitam): protected by Bhishma; पर्याप्तम् (paryāptaṃ): limited; तु (tu): but; इदम् (idam): this; एतेषाम् (eteṣāṃ): of them (the Pandavas); बलम् (balaṃ): strength, army; भीमाभिरक्षितम् (bhīmābhirakṣitam): protected by Bhima. 

Our strength, protected by Bhishma, is unlimited, but their strength, protected by Bhima, is limited.

Duryodhana is expressing confidence in the strength of his own army, which he describes as unlimited and protected by Bhishma, a revered elder and warrior.

In contrast, he views the Pandava army, despite being protected by the formidable Bhima, as limited in strength.

This perspective reflects Duryodhana’s confidence in the might of his forces and possibly an attempt to reassure himself and his side of their superiority in the upcoming battle.

अयनेषु च सर्वेषु यथाभागमवस्थिता: I

भीष्ममेवाभिरक्षन्तु भवन्त: सर्व एव हि II १-११ II

ayaneṣhu cha sarveṣhu yathā-bhāgamavasthitāḥ I

bhīṣhmamevābhirakṣhantu bhavantaḥ sarva eva hi II 1-11 II

अयनेषु (ayaneṣu): in the battle formations; च (ca): and; सर्वेषु (sarveṣu): in all; यथाभागम् (yathābhāgam): according to positions; अवस्थिताः (avasthitāḥ): situated; भीष्मम् (Bhīṣmam): Bhishma; एव (eva): alone, only; अभिरक्षन्तु (abhirakṣantu): protect; भवन्तः (bhavantaḥ): you all; सर्व (sarva): all; एव (eva): indeed; हि (hi): certainly.

All of you, situated in your respective positions in all the strategic points of the battle formations, should indeed protect Bhishma alone.

Duryodhana is giving instructions to his warriors about their positions and roles in the battle formation. He emphasizes the importance of protecting Bhishma, who is not only the chief commander but also a symbol of strength and experience for the Kaurava army.

Duryodhana’s directive reflects his concern for the safety of Bhishma, acknowledging the Pandavas’ strength and the challenges that lie ahead in the battle.

तस्य सञ्जनयन्हर्षं कुरुवृद्ध: पितामह: I

सिंहनादं विनद्योच्चै: शङ्खं दध्मौ प्रतापवान् II १-१२ II

tasya sañjanayan harṣhaṁ kuru-vṛiddhaḥ pitāmahaḥ I

siṁha-nādaṁ vinadyochchaiḥ śhaṅkhaṁ dadhmau pratāpavān II 1-12 II

तस्य (tasya): his (Duryodhana’s); सञ्जनयन् (saṅjanayan): generating; हर्षम् (harṣaṃ): enthusiasm; कुरुवृद्धः (kuruvṛddhaḥ): the elder of the kuru dynasty; पितामहः (pitāmahaḥ): grandfather (Bhishma); सिंहनादम् (siṃhanādaṃ): lion’s roar; विनद्य (vinadya): roaring; उच्चैः (uccaiḥ): loudly; शङ्खम् (śaṅkhaṃ): conch; दध्मौ (dadhmau): blew; प्रतापवान् (pratāpavān): the valiant.

To inspire joy and enthusiasm in Duryodhana, the elder of the Kuru dynasty, the grandfather (Bhishma), roaring like a lion, the valiant one, blew his conch loudly.

This verse describes the action taken by Bhishma, the grand old patriarch of the Kuru dynasty, at the onset of the battle. Recognizing Duryodhana’s anxiety and the need to boost the morale of the Kaurava army, Bhishma takes a decisive action to inspire and encourage them.

His action of blowing the conch, accompanied by a lion-like roar, is symbolic of his leadership and the call to battle. The sound of the conch is a traditional signal for the start of combat in ancient Indian warfare.

This verse captures the dramatic and charged atmosphere of the battlefield, where the sound of conches plays a crucial role in signaling and inspiring the warriors.

तत: शङ्खाश्च भेर्यश्च पणवानकगोमुखा: I

सहसैवाभ्यहन्यन्त स शब्दस्तुमुलोऽभवत् II १-१३ II

tataḥ śhaṅkhāśhcha bheryaśhcha paṇavānaka-gomukhāḥ I

sahasaivābhyahanyanta sa śhabdastumulo ’bhavat II 1-13 II

ततः (tataḥ): then; शङ्खाः (śaṅkhāḥ): conches; च (ca): and; भेर्यः (bheryaḥ): drums; च (ca): and; पणवानकगोमुखाः (paṇavānakagomukhāḥ): panavas, anakas, and gomukhas (different types of musical instruments); सहसा (sahasā): suddenly, all at once; एव (eva): indeed; अभ्यहन्यन्त (abhyahanyanta): were struck; स: (saḥ): that; शब्दः (śabdaḥ): sound; तुमुलः (tumulaḥ): tumultuous; अभवत् (abhavat): became.

Then, suddenly, conches, drums, panavas, anakas, and gomukhas were all sounded together, and that sound became tumultuous.

This verse vividly describes the scene on the battlefield just before the war begins. Following Bhishma’s lead, warriors from both sides start blowing their conches creating a cacophony that signals the commencement of the battle. 

This verse sets the atmosphere of the battlefield, filled with anticipation, excitement, and the foreboding sense of a great war. The collective sound of the instruments serves as a powerful call to arms, marking the transition from preparation to the actual commencement of the Kurukshetra war.

तत: श्वेतैर्हयैर्युक्ते महति स्यन्दने स्थितौ I

माधव: पाण्डवश्चैव दिव्यौ शङ्खौ प्रदध्मतु: II १-१४ II

tataḥ śhvetairhayairyukte mahati syandane sthitau I

mādhavaḥ pāṇḍavaśhchaiva divyau śhaṅkhau pradadhmatuḥ II 1-14 II

ततः (tataḥ): then; श्वेतैः (śvetaiḥ) हयैः (hayaiḥ) युक्ते (yukte): yoked with white horses; महति (mahati): great; स्यन्दने (syandane): chariot; स्थितौ (sthitau): situated; माधवः (Mādhavaḥ): Madhava (Krishna); पाण्डवश्चैव (pāṇḍavaścaiva): and Pandava (Arjuna) certainly; दिव्यौ (divyau): divine; शङ्खौ (śaṅkhau): conches; प्रदध्मतुः (pradadhmatuḥ): blew.

Then, stationed on a great chariot yoked with white horses, Madhava (Krishna) and Pandava (Arjuna) blew their divine conches.

This verse shifts the focus to Krishna and Arjuna on the Pandava side. The act of blowing their Divyau Śaṅkhau, or divine conches, signifies their readiness for battle and serves as a call to arms. The conches of Krishna and Arjuna are not ordinary but divine, indicating their special status and the spiritual dimension of the battle.

Krishna, as Arjuna’s charioteer, is a central figure in the Bhagavad Gita. His role goes beyond that of a charioteer, as he is also Arjuna’s guide and mentor, imparting spiritual wisdom throughout the Gita.

The blowing of the conches by Krishna and Arjuna marks a significant moment in the Mahabharata, symbolizing the commencement of the great battle of Kurukshetra and the unfolding of the epic narrative.

पाञ्चजन्यं हृषीकेशो देवदत्तं धनञ्जय: I

पौण्ड्रं दध्मौ महाशङ्खं भीमकर्मा वृकोदर: II १-१५ II

pāñchajanyaṁ hṛiṣhīkeśho devadattaṁ dhanañjayaḥ I

pauṇḍraṁ dadhmau mahā-śhaṅkhaṁ bhīma-karmā vṛikodaraḥ II 1-15 II

पाञ्चजन्यम् (Pāñcajanyaṃ): Panchajanya (the name of Krishna’s conch); हृषीकेश: (Hṛṣīkeśaḥ): Hrishikesha (Krishna, the Lord of the senses); देवदत्तम् (Devadattaṃ): Devadatta (the name of Arjuna’s conch); धनञ्जयः (Dhanañjayaḥ): Dhananjaya (Arjuna, one who conquers wealth); पौण्ड्रम् (Pauṇḍraṃ): Paundra (the name of Bhima’s conch); दध्मौ (dadhmau): blew; महाशङ्खम् (mahāśaṅkhaṃ): great conch; भीमकर्मा (bhīmakarmā): doer of mighty deeds; वृकोदरः (Vṛkodaraḥ): Vrikodara (Bhima, the wolf-bellied one).

Hrishikesha (Krishna) blew the Panchajanya, Dhananjaya (Arjuna) blew the Devadatta, and Vrikodara (Bhima), the doer of mighty deeds, blew his great conch, the Paundra.

This verse describes the blowing of conches by key warriors of the Pandava side, signaling their readiness for battle. Each conch has a name, signifying its importance and the identity of its owner.

The blowing of these conches serves as a rallying call to the Pandava army, boosting their morale and signaling the commencement of the great war. This act is a significant moment in the Mahabharata, marking the transition from peace to war and setting the stage for the unfolding events of the Kurukshetra battle.

अनन्तविजयं राजा कुन्तीपुत्रो युधिष्ठिर: I

नकुल: सहदेवश्च सुघोषमणिपुष्पकौ II १-१६ II

anantavijayaṁ rājā kuntī-putro yudhiṣhṭhiraḥ I

nakulaḥ sahadevaśhcha sughoṣha-maṇipuṣhpakau II 1-16 II

अनन्तविजयम् (Anantavijayaṃ): Anantavijaya (name of Yudhishthira’s conch); राजा (Rājā): King; कुन्तीपुत्र: (Kuntīputraḥ): the son of Kunti; युधिष्ठिरः (Yudhiṣṭhiraḥ): Yudhishthira; नकुलः (Nakulaḥ): Nakula; सहदेव: च (Sahadevaḥ ca): and Sahadeva; सुघोषमणिपुष्पकौ (Sughoṣamaṇipuṣpakau): Sughoṣa and Maṇipuṣpaka (names of Nakula’s and Sahadeva’s conches).

King Yudhishthira, the son of Kunti, blew the Anantavijaya, and Nakula and Sahadeva blew the Sughoṣa and Maṇipuṣpaka, respectively.

This verse mentions the conches of Yudhishthira, Nakula, and Sahadeva, further emphasizing the readiness of the Pandava warriors for battle.

The blowing of the conches by these key warriors signifies their participation and readiness for the battle. It also serves as a morale booster for their troops and a declaration of their presence on the battlefield.

This verse, like the previous ones, highlights the significance of each warrior’s identity and role in the epic battle of Kurukshetra. The naming of the conches adds a personal and heroic dimension to the narrative, illustrating the individual valor and character of the Pandava warriors.

काश्यश्च परमेष्वास: शिखण्डी च महारथ: I

धृष्टद्युम्नो विराटश्च सात्यकिश्चापराजित: II १-१७ II

kāśhyaśhcha parameṣhvāsaḥ śhikhaṇḍī cha mahā-rathaḥ I

dhṛiṣhṭadyumno virāṭaśhcha sātyakiśh chāparājitaḥ II 1-17 II

काश्य: (Kāśyaḥ): the King of Kashi; च (ca): and; परमेष्वासः (parameṣvāsaḥ): the great archer; शिखण्डी (śikhaṇḍī): Shikhandi; च (ca): and; महारथः (mahārathaḥ): great chariot-warrior; धृष्टद्युम्न: (Dhṛṣṭadyumnaḥ): Drishtadyumna; विराट: (Virāṭaḥ): Virata; च (ca): and; सात्यकि: (Sātyakiḥ): Satyaki; च (ca): and; अपराजितः (aparājitaḥ): unconquered, undefeated.

The King of Kashi, a great archer, Shikhandi, the great chariot- warrior, Drishtadyumna, Virata, and the unconquered Satyaki.

This verse lists additional key warriors fighting on the side of the Pandavas in the Kurukshetra war:

The mention of these warriors underscores the strength and diversity of the Pandava army. Each warrior brings unique skills and valor to the battlefield, contributing to the overall might of the Pandava forces.

This verse, like the previous ones, serves to build up the grandeur and intensity of the impending battle, showcasing the array of celebrated warriors set to participate in this epic conflict.

द्रुपदो द्रौपदेयाश्च सर्वश: पृथिवीपते I

सौभद्रश्च महाबाहु: शङ्खान्दध्मु: पृथक् पृथक् II १-१८ II

drupado draupadeyāśhcha sarvaśhaḥ pṛithivī-pate I

saubhadraśhcha mahā-bāhuḥ śhaṅkhāndadhmuḥ pṛithak pṛithak II 1-18 II

द्रुपदः (Drupadaḥ): Drupada; द्रौपदेयाः (Draupadeyāḥ): the sons of Draupadi; च (ca): and; सर्वशः (sarvaśaḥ): all; पृथिवीपते (pṛthivīpate): O Lord of the earth (addressing Dhritarashtra); सौभद्र: (Saubhadraḥ): Abhimanyu, the son of Subhadra; च (ca): and; महाबाहुः (mahābāhuḥ): mighty-armed; शङ्खान् (śaṅkhān): conches; दध्मुः (dadhmuh): blew; पृथक् पृथक् (pṛthak pṛthak): separately, individually. 

Drupada and the sons of Draupadi, O Lord of the Earth, and the mighty-armed Abhimanyu, the son of Subhadra, all blew their conches separately.

This verse mentions additional warriors on the Pandava side and their actions as the battle is about to begin:

Drupada: The king of Panchala and father of Draupadi, Drupada is a significant ally of the Pandavas.

The Sons of Draupadi (Draupadeyāḥ): Known as the Upapandavas, they are the sons of Draupadi and each of the Pandavas. They are important warriors in the Pandava army.

Abhimanyu (Saubhadra): The son of Subhadra (Krishna’s sister) and Arjuna, Abhimanyu is renowned for his bravery and skill in warfare. He is referred to as Mahābāhuḥ, meaning mighty-armed, indicating his prowess as a warrior. 

The phrase Śaṅkhāndadhmuh Pṛthak Pṛthak indicates that each of these warriors blew their conches separately, contributing to the collective call to battle. 

This verse, like the previous ones, adds to the dramatic buildup of the battle scene in the Kurukshetra war.

स घोषो धार्तराष्ट्राणां हृदयानि व्यदारयत् I

नभश्च पृथिवीं चैव तुमुलोऽभ्यनुनादयन् II १-१९ II

sa ghoṣho dhārtarāṣhṭrāṇāṁ hṛidayāni vyadārayat I

nabhaśhcha pṛithivīṁ chaiva tumulo abhyanunādayan II 1-19 II

स: (saḥ): that; घोषः (ghoṣaḥ): sound; धार्तराष्ट्राणाम् (Dhārtarāṣṭrāṇāṃ): of the sons of Dhritarashtra (the Kauravas); हृदयानि (hṛdayāni): hearts; व्यदारयत् (vyadārayat): shattered, rent asunder; नभः (nabhaḥ): the sky; च (ca): and; पृथिवीम् (pṛthivīṃ): the earth; च (ca): and; एव (eva): indeed; तुमुलः (tumulaḥ): tumultuous; अभ्यनुनादयन् (abhyanunādayan): resounding, reverberating.

That tumultuous sound shattered the hearts of the sons of Dhritarashtra and reverberated through the sky and the earth.

This verse captures the fear and intimidation felt by the Kauravas upon hearing the resounding war cries and conch shells of the Pandavas.

The sound is described as being so immense that it echoed through the sky and the earth. This hyperbolic description emphasizes the overwhelming and far-reaching impact of the Pandava army’s presence and readiness for battle.

This verse illustrates the psychological warfare inherent in the buildup to the battle of Kurukshetra. The morale and mental state of the warriors play a crucial role in the dynamics of the war.

अथ व्यवस्थितान्दृष्ट्वा धार्तराष्ट्रान् कपिध्वज: I

प्रवृत्ते शस्त्रसम्पाते धनुरुद्यम्य पाण्डव: II १-२० II

हृषीकेशं तदा वाक्यमिदमाह महीपते I

atha vyavasthitān dṛiṣhṭvā dhārtarāṣhṭrān kapi-dhwajaḥ I

pravṛitte śhastra-sampāte dhanurudyamya pāṇḍavaḥ II 1-20 II

hṛiṣhīkeśhaṁ tadā vākyam idam āha mahī-pate I

अथ (atha): then; व्यवस्थितान् (vyavasthitān): positioned; दृष्ट्वा (dṛṣṭvā): having seen; धार्तराष्ट्रान् (dhārtarāṣṭrān): the sons of Dhritarashtra (the Kauravas); कपिध्वजः (kapidhvajaḥ): he whose flag bears the emblem of Hanuman (Arjuna); प्रवृत्ते (pravṛtte): about to commence; शस्त्रसम्पाते (śastrasampāte): in the discharge of weapons; धनुरुद्यम्य (dhanurudyamya): lifting his bow; पाण्डवः (Pāṇḍavaḥ): the son of Pandu (Arjuna); हृषीकेशम् (Hṛṣīkeśaṃ): to Hrishikesha (Krishna); तदा (tadā): then; वाक्यम् (vākyam): words; इदम् (idam): this; आह (āha): said; महीपते (mahīpate): O Lord of the earth (addressing Dhritarashtra).  

Then, seeing the Dhartarashtra forces arrayed and ready for battle, Arjuna, whose flag bore the emblem of Hanuman, lifted his bow as the discharge of weapons was about to commence.

O Lord of the Earth, at that time, he spoke these words to Hrishikesha (Krishna).

The scene is set for the beginning of the great battle of Kurukshetra. Arjuna, referred to as Kapidhvajaḥ, indicating his chariot flag bearing the image of Hanuman, prepares for battle by lifting his bow. The mention of Hanuman on Arjuna’s flag symbolizes strength, devotion, and victory.

Arjuna’s action of lifting his bow signifies his readiness to fight, but his subsequent dialogue with Krishna reveals his inner turmoil and the moral and ethical dilemmas he faces, which form the core of the Bhagavad Gita’s teachings.

These verses set the stage for the ensuing dialogue between Arjuna and Krishna, which delves into profound philosophical and spiritual discussions.  

अर्जुन उवाच I

सेनयोरुभयोर्मध्ये रथं स्थापय मेऽच्युत II १-२१ II

Arjuna uvāca I

senayor ubhayor madhye rathaṁ sthāpaya me ’chyuta II 1-21 II

अर्जुन: उवाच (Arjunaḥ uvāca): Arjuna said; सेनयोः (senayoḥ): of the armies; उभयोः (ubhayoḥ): of both; मध्ये (madhye): in the middle; रथम् (rathaṃ): chariot; स्थापय (sthāpaya): place, position; मे (me): my; अच्युत (Acyuta): O Acyuta (Krishna, the infallible one).

Arjuna said: O Acyuta (Krishna), place my chariot in the middle of both the armies.

Arjuna, the Pandava prince and a key warrior, addresses Krishna, his charioteer, and requests him to position their chariot between the two armies. Arjuna refers to Krishna as अच्युत (Acyuta) which literally means ‘one who does not move’ or ‘one who does not fall’ - in other words, ‘the infallible’ or ‘the unchanging’.

The request to place the chariot in the middle of both armies demonstrates Arjuna’s initial desire to observe both sides, the Kauravas and the Pandavas, before the battle commences. This positioning is crucial as it leads to Arjuna’s realization of the gravity of the war and the moral dilemma he faces, seeing his relatives, teachers, and loved ones arrayed for battle on both sides.

This verse sets the stage for the Bhagavad Gita’s philosophical discourse which addresses fundamental questions about duty, righteousness, and the nature of life and death.

यावदेतान्निरीक्षेऽहं योद्धुकामानवस्थितान् I

कैर्मया सह योद्धव्यमस्मिन् रणसमुद्यमे II १-२२ II

yāvadetān nirīkṣhe ’haṁ yoddhu-kāmān avasthitān I

kairmayā saha yoddhavyam asmin raṇa-samudyame II 1-22 II

यावत् (yāvat): as long as; एतान् (etān): these; निरीक्षे (nirīkṣe): I see; अहम् (ahaṃ): I; योद्धुकामान् (yoddhukāmān): desiring to fight; अवस्थितान् (avasthitān): positioned; कैः (kaiḥ): with whom; मया (mayā): by me; सह (saha): with; योद्धव्यम् (yoddhavyam): must be fought; अस्मिन् (asmin): in this; रणसमुद्यमे (raṇasamudyame): battle preparation. 

Until I see these who are desirous of fighting, standing arrayed, [I wish to know] with whom I must fight in this battle preparation.

Arjuna expresses his desire to Krishna to observe the warriors on both sides before the battle begins. He wants to see who has assembled to fight, indicating his need to understand the full scope of the conflict he is about to engage in.

His request to survey the battlefield is not just a tactical move but also a precursor to the profound emotional and ethical challenges he will face, leading to the spiritual discourse of the Bhagavad Gita.

योत्स्यमानानवेक्षेऽहं य एतेऽत्र समागता: I

धार्तराष्ट्रस्य दुर्बुद्धेर्युद्धे प्रियचिकीर्षव: II १-२३ II

yotsyamānān avekṣhe ’haṁ ya ete ’tra samāgatāḥ I

dhārtarāṣhṭrasya durbuddher yuddhe priya-chikīrṣhavaḥ II 1-23 II

योत्स्यमानान् (yotsyamānān): those who are willing to fight; अवेक्षे (avekṣe): I wish to see; अहम् (ahaṃ): I; ये (ye): who; एते (ete): these; अत्र (atra): here; समागताः (samāgatāḥ): assembled; धार्तराष्ट्रस्य (Dhārtarāṣṭrasya): of Dhritarashtra; दुर्बुद्धेः (durbuddheḥ): evil-minded; युद्धे (yuddhe): in battle; प्रियचिकीर्षवः (priyacikīrṣavaḥ): desiring to please. 

I wish to see those who are willing to fight, who have assembled here to participate in battle, desiring to please the evil-minded son of Dhritarashtra.

Arjuna’s intention is to see those who are willing to engage in battle, especially those who have come to support Duryodhana, the son of Dhritarashtra, whom he refers to as दुर्बुद्धेः (Durbuddheḥ), meaning evil-minded or misguided

Arjuna sees Duryodhana as the instigator of the war due to his misguided actions and desires. The warriors who have assembled are those who wish to please Duryodhana, either out of loyalty, obligation, or other motivations. 

This verse highlights the complexity of the war, where familial and social relationships are intertwined with the duty of a warrior.

सञ्जय उवाच I

एवमुक्तो हृषीकेशो गुडाकेशेन भारत I

सेनयोरुभयोर्मध्ये स्थापयित्वा रथोत्तमम् II १-२४ II

Sañjaya uvāca I

evam ukto hṛiṣhīkeśho guḍākeśhena bhārata I

senayor ubhayor madhye sthāpayitvā rathottamam II 1-24 II

सञ्जय: उवाच (Saṅjayaḥ uvāca): Sanjaya said; एवमुक्तः (evamuktaḥ): thus addressed; हृषीकेशः (Hṛṣīkeśaḥ): Hrishikesha (Krishna, the Lord of the senses); गुडाकेशेन (guḍākeśena): by Gudakesha (Arjuna, the conqueror of sleep); भारत (Bhārata): O descendant of Bharata (Dhritarashtra); सेनयोः (senayoḥ): of the armies; उभयोः (ubhayoḥ): of both; मध्ये (madhye): in the middle; स्थापयित्वा (sthāpayitvā): having placed; रथोत्तमम् (rathottamam): the best chariot.

Sanjaya said: O descendant of Bharata (Dhritarashtra), thus addressed by Gudakesha (Arjuna, the conqueror of sleep), Hrishikesha (Krishna, the Lord of the senses) placed the best chariot in the middle of both the armies.

Sanjaya is narrating to Dhritarashtra the events on the battlefield. 

Arjuna, known as गुडाकेश (Guḍākeśa), which means the conqueror of sleep (indicating his vigilance and determination), has asked Krishna to position their chariot between the two armies.

Krishna complies with Arjuna’s request and positions their chariot in the middle of both armies. This strategic positioning is significant as it allows Arjuna to clearly see the warriors on both sides, setting the stage for his realization of the true nature of the conflict and his subsequent moral dilemma.

This verse is crucial as it leads to the famous Vishada Yoga, where Arjuna is overcome with doubt and compassion.

Sanjaya’s narration to Dhritarashtra serves as a way for the blind king to understand the events of the battle and the profound spiritual teachings that emerge from it. 

भीष्मद्रोणप्रमुखत: सर्वेषां च महीक्षिताम् I

उवाच पार्थ पश्यैतान्समवेतान्कुरूनिति II १-२५ II

bhīṣhma-droṇa-pramukhataḥ sarveṣhāṁ cha mahī-kṣhitām I

uvāca pārtha paśhyaitān samavetān kurūn iti II 1-25 II

भीष्मद्रोणप्रमुखतः (Bhīṣma-Droṇa-pramukhataḥ): headed by Bhishma and Drona; सर्वेषाम् (sarveṣāṃ): of all; च (ca): and; महीक्षिताम् (mahīkṣitām): the rulers of the earth; उवाच (uvāca): said; पार्थ (Pārtha): O son of Pritha (Arjuna); पश्य (paśya): see; एतान् (etān): these; समवेतान् (samavetān): assembled; कुरून् (Kurūn): the Kauravas; इति (iti): thus. 

Krishna said: O Partha (Arjuna), see these assembled Kauravas, headed by Bhishma and Drona, and all the rulers of the earth.

Krishna addresses Arjuna as पार्थ (Pārtha), a reference to his being the son of Pritha (Kunti), and points out the key figures on the opposing side indicating that the army is led by the venerable warriors Bhishma and Drona. 

The mention of Sarveṣāṃ Mahīkṣitām refers to all the kings and rulers of the earth who have joined the battle, highlighting the grand scale of the conflict and the involvement of numerous kingdoms.

This verse sets the stage for Arjuna’s realization of the magnitude of the war and the relationships he shares with many of the warriors on the opposite side.

तत्रापश्यत्स्थितान् पार्थ: पितृ नथ पितामहान् I

आचार्यान्मातुलान्भ्रातृ न्पुत्रान्पौत्रान्सखींस्तथा II १-२६ II

tatrāpaśhyat sthitān pārthaḥ pitṝīn atha pitāmahān I

āchāryān mātulān bhrātṝīn putrān pautrān sakhīṁs tathā II 1-26 II

तत्र (tatra): there; अपश्यत् (apaśyat): saw; स्थितान् (sthitān): positioned; पार्थः (Pārthaḥ): Arjuna, the son of Pritha (Kunti); पितृन् (pitṛn): fathers; अथ (atha): also; पितामहान् (pitāmahān): grandfathers; आचार्यान् (ācāryān): teachers; मातुलान् (mātulān): maternal uncles; भ्रातृन् (bhrātṛn): brothers; पुत्रान् (putrān): sons; पौत्रान् (pautrān): grandsons; सखीन् (sakhīn): friends; तथा (tathā): and. 

There, Arjuna saw standing fathers, grandfathers, teachers, maternal uncles, brothers, sons, grandsons, and friends as well.

Arjuna begins to realize the full extent of the impending conflict as he observes the warriors on the battlefield. He sees not just soldiers, but his own relatives, teachers, and friends among them. 

This recognition marks a turning point for Arjuna. It dawns upon him that the war is not just a political or territorial battle but a deeply personal and moral conflict. The presence of his own kin on the battlefield creates a profound emotional and ethical dilemma for him, as he grapples with the idea of fighting against those he loves and respects.

This verse sets the stage for Arjuna’s moral crisis and his subsequent dialogue with Krishna, which forms the core of the Bhagavad Gita. It highlights the complexities of duty, righteousness, and the bonds of family and friendship, which are central themes in the Gita’s teachings.

श्वशुरान्सुहृदश्चैव सेनयोरुभयोरपि I

तान्समीक्ष्य स कौन्तेय: सर्वान्बन्धूनवस्थितान् II १-२७ II

śhvaśhurān suhṛidaśh chaiva senayor ubhayor api I

tān samīkṣhya sa kaunteyaḥ sarvān bandhūn avasthitān II 1-27 II

श्वशुरान् (śvaśurān): fathers-in-law; सुहृद: (suhṛdaḥ): well-wishers; च (ca): and; एव (eva): indeed; सेनयोः (senayoḥ): of the armies; उभयोः (ubhayoḥ): of both; अपि (api): also; तान् (tān): them; समीक्ष्य (samīkṣya): having seen; स: (saḥ): he; कौन्तेयः (Kaunteyaḥ): the son of Kunti (Arjuna); सर्वान् (sarvān): all; बन्धून् (bandhūn): relatives; अवस्थितान् (avasthitān): situated. 

Arjuna, the son of Kunti, saw fathers-in-law and friends also in both the armies. Observing all these relatives standing [there].

Arjuna’s realization of the familial connections on the battlefield deepens. He sees not only his immediate family but also his Śvaśurān (fathers-in-law) and Suhṛdaśca (friends and well-wishers) arrayed in both armies. This further adds to the emotional and ethical complexity of the situation he finds himself in. 

Arjuna represents not just a warrior but also a man deeply connected to his family and community. His observation of all his relatives on the battlefield symbolizes the inner turmoil he is experiencing.

This verse sets the stage for the profound dialogue between Arjuna and Krishna, where Arjuna’s personal conflict becomes a backdrop for exploring deeper philosophical and spiritual questions about duty, righteousness, and the nature of life and death. 

कृपया परयाविष्टो विषीदन्निदमब्रवीत् I

अर्जुन उवाच I

दृष्ट्वेमं स्वजनं कृष्ण युयुत्सुं समुपस्थितम् II १-२८ II

kṛipayā parayāviṣhṭo viṣhīdann idam abravīt I

Arjuna uvāca I

dṛiṣhṭvemaṁ sva-janaṁ kṛiṣhṇa yuyutsuṁ samupasthitam II 1-28 II

कृपया (kṛpayā): by compassion; परया (parayā): overwhelming; आविष्टः (āviṣṭaḥ): overcome; विषीदन् (viṣīdan): grieving, despondent; इदम् (idam): this; अब्रवीत् (abravīt): spoke; अर्जुन: उवाच (Arjunaḥ uvāca): Arjuna said; दृष्ट्वा (dṛṣṭvā): having seen; इमम् (imam): this; स्वजनम् (svajanaṃ): own people; कृष्ण (Kṛṣṇa): Krishna; युयुत्सुम् (yuyutsam): eager to fight; समुपस्थितम् (samupasthitam): assembled.

Overwhelmed by great compassion and grieving, Arjuna spoke these words: ‘O Krishna, seeing these relatives assembled here, eager to fight’

Arjuna begins to express his deep emotional conflict to Krishna. He is Kṛpayā Parayāviṣṭaḥ, meaning he is overwhelmed by a profound sense of compassion. This compassion leads to a state of grief and despondency, as he confronts the reality of facing his own kin in battle. 

Arjuna highlights that those assembled on the battlefield are not just any warriors, but his own family, friends, and revered teachers. Arjuna’s inner turmoil is a reflection of the universal human struggle with ethical and emotional challenges in the face of difficult duties.

His dialogue with Krishna that follows explores profound philosophical and spiritual questions about duty, righteousness, the nature of life and death, and the path to liberation.

सीदन्ति मम गात्राणि मुखं च परिशुष्यति I

वेपथुश्च शरीरे मे रोमहर्षश्च जायते II १-२९ II

sīdanti mama gātrāṇi mukhaṁ cha pariśhuṣhyati I

vepathuśh cha śharīre me roma-harṣhaśh cha jāyate II 1-29 II

सीदन्ति (sīdanti): weakening; मम (mama): my; गात्राणि (gātrāṇi): limbs; मुखम् (mukhaṃ): mouth; च (ca): and; परिशुष्यति (pariśuṣyati): is drying up; वेपथुः (vepathuḥ): trembling; च (ca): and; शरीरे (śarīre): in the