Mahābhārata – Episode 53 – Arjuna Imbues Courage in Uttara

This article is part 53 of 112 in the series Mahābhārata

Arjuna ran behind Uttara for less than a hundred steps before he caught the young man’s tuft of hair, bringing him to a halt. Uttara began whining like a person overcome by a great calamity. “I will give you a hundred coins made of pure gold; I will gift you ten elephants in rut; leave me alone Bṛhannaḍā!” he pleaded with outstretched hands. Fear had paled the reasoning and consciousness of the young prince; listening to his words and his entreaties, Arjuna smiled and led him to the chariot. He said, “O prince! If you don’t have the heart to wage war against the enemies, at least become the charioteer to one who does. Don’t fear; you’re a kṣatriya, aren’t you? I will battle the Kauravas and recover the cattle.” In this manner, Arjuna gave solace to Uttara for a while and finally made him board the chariot.

The chariot now proceeded to the śamī tree on which all the weapons were kept tied up. On the other side of the battlefield, the Kauravas were terrified of Arjuna; and if that wasn’t sufficient, several ill-omens were seen; looking at them Droṇa said, “The wind is blowing violently; the sky has become pale like it has been smeared with ash; clouds of weird shapes have filled the sky; all the weapons are sliding away and falling from their sheaths and store-houses; even during the day the jackals are screaming; the horses are shedding tears; the flags are trembling. When I see all this, it feels that war is imminent. Therefore, all of you protect yourselves and your armies; keep a strict watch on the cows; it is indeed Arjuna who has come dressed as a woman; there is no doubt about this; he will not return without waging a war; having been subjected to many pains and tribulations during the forest exile, his mind is filled with anger. O Kauravas, I don’t see who can face him in battle! It is said that even Mahādeva was impressed by his prowess!”

Karṇa heard these words and told Droṇa, “You’re always like this; you go on praising Arjuna in our presence; that eunuch is not Arjuna; and Arjuna’s knowledge is not even a fraction of the complete knowledge that I or Duryodhana have.”

Duryodhana said, “Karṇa, if that is indeed Arjuna then my work is as good as done; having recognized him, another twelve years of forest exile awaits them. If that is not the case and he’s just some eunuch, then I will destroy him in battle and bury him in the ground! Be quiet.”

As soon as the chariot reached the base of the śamī tree, Arjuna told Uttara, “Quickly climb this tree and bring down the bow that is tied there; your bow is insufficient for my strength; atop this tree, the Pāṇḍavas have tied their weapons.”

In response Uttara said, “I’ve heard that a corpse was tied to this tree; being a prince, how can I touch that? If I touch a corpse, wouldn’t I be defiled?”

Arjuna said, “O prince, don’t worry, you will not be defiled; what lies there is not a corpse but bows and arrows; will I allow the king’s son to come in contact with a corpse? Don’t fear, climb the tree!” Thus he ordered the young prince.

Without any option, he got down from the chariot and climbed the tree. Seated in the chariot, Arjuna ordered him, “Yes, untie those knots! There!” Upon untying the knots, the Gāṇḍīva and four other bows, quivers full of arrows, and swords came into view. The bows looked like hooded snakes to him; seeing them, Uttara was overcome by fear; he experienced horripilation; he repeatedly touched the weapons and was astounded to feel their weight and see their lustre; describing all the weapons one by one, filled with curiosity, he began asking Bṛhannaḍā, whose bow is this, whose arrows are there, whose sword is this.

Arjuna said, “What you asked me first, that is the Gāṇḍīva – Arjuna’s world-famous bow.” Then he told him about the other weapons that were tied there and the names of those who wielded the weapons.

Uttara asked, “Does this belong to the great Pāṇḍavas? If that is the case, where are those heroes now? After they gambled and lost their kingdom, I don’t know what happened to them! That jewel among women, the famed Draupadī, where is she? I heard that she too followed the Pāṇḍavas into the forest.”

Arjuna said, “I am Arjuna; the courtier in the assembly who plays dice is Yudhiṣṭhira; the cook Ballava employed in your father’s service is Bhīmasena; Nakula is the one who takes care of your steeds; Sahadeva is the one who tends to your cows; and Sairandhrī is Draupadī; and it is because of her that Kīcaka was killed!”

Listening to these words, Uttara approached Arjuna and said, “O Dhanañjaya! Bhumiñjaya Uttara offers his respects to you; it is my good fortune that I have obtained the gift of meeting you. Let me welcome you! O mighty-armed warrior, forgive those words of mine that I spoke in ignorance; you are a person who has accomplished impossible feats. Therefore all my fear has been dispelled.” He expressed his joy and his affection towards Arjuna. He continued, “There is just one thing that I fail to understand; how did a great warrior like you, endowed with such a form and such a powerful body, end up becoming a eunuch?”

Arjuna replied, “O prince, I am not really an impotent eunuch; according to the orders of my elder brother, I spent this year as a brahmacārī; I was helpless in the face of duty; but now that vow is over; I can now present myself in the open; therefore, I shall wage this war, fear not!” With these words, Arjuna assuaged the fears of the prince.

Uttara was filled with enthusiasm and said, “Will a eunuch ever be like this? Now my doubts have been cleared; I am imbued with fresh courage; I shall support you even if you choose to fight with the gods; what shall I do, order me! I have been trained in the art of horse-riding; I can be an able charioteer; the horse that is yoked to the right side of this chariot is like the famed horse called Sugrīva; when he begins trotting, nobody will be able to see his feet touching the ground; the horse yoked to the left is akin to the famed horse Meghapuṣpa in matters of speed; even the horses yoked in the back are similarly powerful and speedy. You alone are capable of engaging in combat while riding on this chariot pulled by such fine horses!”

Soon after this, Arjuna pulled out the bangles from his wrist and threw them away; he lifted his hair and tied it with a white cloth; he strung his Gāṇḍīva and plucked at it, making a powerful twang. A great noise arose akin to a mountain crashing against another; the earth trembled; the wind became turbulent; even huge trees shook violently and all the birds that were taking shelter in those trees flew away in great confusion in various directions; the sound that resembled thunder must be from the twang of Arjuna’s bow – thus the Kauravas surmised when they heard the sound. After that, Arjuna did a pradakṣiṇa around the śamī tree, took all his weapons, and boarded the chariot. Lowering the lion flag from the chariot and placing it at the root of the tree, he tied his own flag with the mark of a monkey – the vānaradhvaja. He donned his armour, took his bow and his quiver of arrows, made Uttara his charioteer, went in a northward direction, and blew his conch once. Upon listening to that sound, the horses trembled in fear. Uttara was overcome by shock and fear; he sat motionless in the chariot, befuddled by the sound. Looking at this, Arjuna held the reins of the chariot and steadied the horses. He embraced Uttara and said, “Don’t fear, O prince! Being a kṣatriya, can your limbs shake in the midst of the battlefield, surrounded by enemies! You’ve been in a battle before – in the midst of the assembled armies, you’ve heard the sound of conch shells, kettle drums, and the trumpeting of elephants! That being the case, upon listening to this conch of mine, why have you sat down in fear like an ordinary man?” Arjuna offered solace to Uttara with these words.

Uttara said, “On numerous occasions earlier I have heard the sound of conch shells, kettle drums, and elephant roars; but I had never heard the sound of such a conch earlier; listening to this as well as the twang of the Gāṇḍīva has deafened my ears; my mind is turbulent and I’m unable to tell one direction from another.”

“Now, sit firmly on one side of the chariot with your legs pressing against it; grasp the reins firmly, pulling it tight; I am going to blow my conch again!” said Arjuna. With this word of caution, he blew his conch shell once more.

Listening to the sound of this conch and also the thundering sound made by the Gāṇḍīva, Droṇa said, “These are definitely made by Arjuna; no wonder our weapons are shorn of their lustre, our horses are bereft of enthusiasm; jackals are screaming, crows are perched upon our banners; the army looks wilted; nobody is desirous of battle; the faces have turned pale.”

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

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

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...