Chapter 1

Dhritarashtra inquired: O Sanjaya, what did my sons and the sons of Pandu do when they assembled on the holy field of Kurukshetra, eager to fight? This verse sets the scene for the Bhagavad Gita, opening with the blind King Dhritarashtra's question to his charioteer and secretary, Sanjaya. Dhritarashtra, despite his physical blindness, is also spiritually blind, preoccupied with the outcome for "my sons" (the Kauravas) versus "the sons of Pandu" (the Pandavas), highlighting his attachment and partiality. The mention of "dharmakṣetre Kurukṣetre" (the field of righteousness, Kurukshetra) implies that the war is not just a physical conflict but a moral and spiritual one, where justice will ultimately prevail.

Sanjaya said: O King, after seeing the army of the Pandavas arrayed in military formation, King Duryodhana approached his teacher, Dronacharya, and spoke these words. Sanjaya begins his narration to Dhritarashtra. He describes Duryodhana's immediate reaction upon observing the Pandava army. Despite having a larger army, Duryodhana's apprehension is evident as he seeks out his military preceptor, Dronacharya, rather than his commander-in-chief, Bhishma, indicating a reliance on Drona's strategic wisdom and a subtle insecurity.

O my teacher, behold this mighty army of the sons of Pandu, arrayed by your intelligent disciple, the son of Drupada (Dhrishtadyumna). Duryodhana points out the formidable arrangement of the Pandava army to Dronacharya. His words carry a sarcastic undertone as he highlights that the army has been skillfully arrayed by Dhrishtadyumna, who, while Drona's disciple, was also prophesied to be Drona's killer and was the son of Drona's long-standing enemy, King Drupada. This thinly veiled taunt aims to provoke Dronacharya into fighting with full vigor.

Here are heroes, great archers equal to Bhima and Arjuna in battle: Yuyudhana (Satyaki), Virata, and Drupada, the great chariot warrior (Maharatha). Duryodhana continues to list the prominent warriors in the Pandava army, acknowledging their exceptional prowess. He mentions Satyaki (Krishna's disciple), Virata (King of Matsya), and Drupada (father of Draupadi and Dhrishtadyumna), emphasizing their martial skill and comparing some to the mighty Bhima and Arjuna themselves. This enumeration underscores his perception of the strength of the opposing force.

Dhrishtaketu, Chekitana, the valiant king of Kashi, Purujit, Kuntibhoja, and Shaibya, the best among men, are also present. Duryodhana further names formidable allies of the Pandavas: Dhrishtaketu (King of Chedi), Chekitana (from the Yadava clan), the powerful King of Kashi, Purujit (brother of Kuntibhoja), Kuntibhoja (uncle of the Pandavas), and Shaibya (King of Shivis). This extended list reveals Duryodhana's meticulous observation of the enemy forces and his growing anxiety regarding the formidable array of warriors aligned with the Pandavas.

The valiant Yudhamanyu, the powerful Uttamauja, the son of Subhadra (Abhimanyu), and the sons of Draupadi—all of them are great chariot warriors (Maharathas). Duryodhana concludes his enumeration of the prominent Pandava warriors by mentioning Yudhamanyu and Uttamauja (who were protectors of Arjuna's chariot wheels), and then, importantly, Abhimanyu (Arjuna's exceptionally brave son) and the five Upapandavas (sons of Draupadi). By categorizing them all as 'Maharathas' (warriors capable of fighting thousands of archers simultaneously), Duryodhana expresses his profound concern about the strength and depth of the Pandava army, even among the younger generation.

But know also, O best of the twice-born (Dronacharya), those who are most prominent among us, the leaders of my army. I shall name them for your information. Having listed the Pandava heroes, Duryodhana turns to acknowledge the strengths within his own forces. He addresses Dronacharya respectfully as 'dvijottama' (best of the twice-born), and assures him that his army also boasts many powerful leaders. His intention in listing them is not merely informational but also to reinforce his own confidence and perhaps to indirectly remind Drona of his loyalty and duty to the Kaurava cause.

Your good self (Dronacharya), Bhishma, Karna, Kripa (victorious in battle), Ashwatthama, Vikarna, and also the son of Somadatta (Bhurishrava). Duryodhana begins listing the key commanders of his own forces. He starts with Dronacharya himself, then Bhishma (the venerable patriarch and supreme commander), Karna (his most loyal friend), Kripa (the royal preceptor), Ashwatthama (Drona's powerful son), Vikarna (his own righteous brother, though he fights for the Kauravas), and Bhurishrava. This list represents a formidable array of warriors, many of whom are legendary in their own right, indicating the sheer size and power of the Kaurava army.

And many other heroes, who are ready to lay down their lives for my sake, are present here. They are all well-equipped with various weapons and are expert in warfare. Duryodhana emphasizes that, beyond the named stalwarts, there are countless other brave warriors in his army who are prepared to sacrifice their lives for him. He highlights their combat readiness, their diverse weaponry, and their expertise in war, further bolstering his confidence and attempting to dispel any lingering doubts in Dronacharya's mind about the strength of their side.

Our army, protected by Bhishma, is immeasurable (unlimited/unconquerable), whereas their army, protected by Bhima, is limited (insufficient/conquerable). This is a crucial and often interpreted verse. Duryodhana states that his army, under the supreme protection and command of Bhishma, is 'aparyaptam' – meaning unlimited or unconquerable. In contrast, the Pandava army, protected by Bhima (known for his physical might but not strategic leadership), is 'paryaptam' – meaning limited or conquerable. This statement reveals Duryodhana's overconfidence in his own side, despite his earlier anxiety, and his underestimation of the Pandavas' spiritual strength and the presence of Krishna.

Therefore, all of you, standing in your respective positions in the divisions of the army, must protect Bhishma from all sides. Duryodhana issues a direct command to his commanders. He instructs them to ensure the safety of Bhishma, the supreme commander, from all strategic points. This command reflects Bhishma's critical importance to the Kaurava army's morale and strategy. It also subtly reveals Duryodhana's underlying fear that despite their numerical superiority, Bhishma's fall could lead to their defeat.

To hearten Duryodhana, the grand old man of the Kuru dynasty, the glorious Bhishma, then loudly blew his conch shell, producing a sound like a lion's roar. In response to Duryodhana's anxiety and to boost the morale of his army, Bhishma, the venerable patriarch of the Kuru dynasty, blows his conch. His "lion's roar" signifies his immense strength, unwavering resolve, and readiness for battle. This act is intended to instill courage in the Kaurava ranks and to silence any lingering doubts or fears, including Duryodhana's own.

Then, conch shells, kettledrums, tabors, drums, and cow-horns suddenly blared forth, and the sound was tumultuous. Following Bhishma's lead, the entire Kaurava army unleashes a cacophony of various war instruments. The combined sound of numerous conches, drums, and horns creates an overwhelming, tumultuous roar, symbolizing the massive scale and aggressive posture of the Kaurava forces, aiming to intimidate the Pandavas and project an image of overwhelming power.

Then, situated in a magnificent chariot drawn by white horses, Madhava (Krishna) and the son of Pandu (Arjuna) blew their transcendental conch shells. In direct contrast to the Kauravas' chaotic and intimidating display, Krishna and Arjuna, seated in their splendid chariot (which bears the emblem of Hanuman), blow their individual divine conches. This act signifies their unique spiritual status and the righteous nature of their cause. The white horses symbolize purity and spiritual power, setting a dignified and divinely supported tone for the Pandava response.

Hrishikesha (Krishna) blew His conch Pāñcajanya; Dhananjaya (Arjuna) blew Devadatta; and Vrikodara (Bhima), of terrific deeds, blew the great conch Paundra. Sanjaya now names the specific, unique conches of the main Pandava heroes. Krishna's conch is Pāñcajanya (associated with the demon Pancajana whom Krishna killed), Arjuna's is Devadatta (meaning "God-given"), and Bhima's is Paundra, known for its deep, terrifying sound. The naming of these individual, powerful conches highlights the distinct identities and formidable prowess of these central figures, contrasting with the generic "tumultuous sound" of the Kauravas.

King Yudhishthira, the son of Kunti, blew Anantavijaya; Nakula and Sahadeva blew Sughosha and Manipushpaka, respectively. Sanjaya continues to list the conches of the remaining Pandava brothers. Yudhishthira's conch is Anantavijaya ("eternal victory"), symbolizing his adherence to dharma and the ultimate triumph of righteousness. Nakula's is Sughosha ("melodious sound") and Sahadeva's is Manipushpaka ("jeweled blossom"). Each name subtly reflects the personality or destiny of its owner, completing the enumeration of the main Pandava warriors' unique battle sounds.

And the King of Kashi, the great archer; Shikhandi, the great chariot warrior; Dhrishtadyumna, Virata, and the unconquerable Satyaki also blew their conch shells. Sanjaya expands the list to include other prominent allies of the Pandavas who also sound their conches, demonstrating their unified and formidable front. He mentions the King of Kashi (a great archer), Shikhandi (who was instrumental in Bhishma's eventual fall), Dhrishtadyumna (the commander-in- chief of the Pandava army), Virata (king of Matsya), and Satyaki (Krishna's staunch devotee and formidable warrior).

Drupada, the sons of Draupadi, O King, and the mighty-armed son of Subhadra (Abhimanyu)—all of them blew their respective conch shells. Sanjaya concludes the extensive list of Pandava allies and their individual conch blasts, including Drupada (father of Draupadi) and the Upapandavas (Draupadi's five sons). Importantly, he mentions Abhimanyu, Arjuna's exceptionally brave and mighty-armed son. The phrase 'pṛthak pṛthak' (each separately) emphasizes that each of these warriors individually blew their conch, signifying their distinct strength and unified commitment to the collective will of the Pandava army.

That tumultuous sound, reverberating through the sky and earth, pierced the hearts of the sons of Dhritarashtra. The combined, resonant sound of the Pandava conches, unlike the Kauravas' initial chaotic blast, is described as so powerful and profound that it 'pierced the hearts' of the Kaurava warriors. This indicates not just a physical sound but a significant psychological impact, signifying fear, foreboding, and perhaps a premonition of defeat among Dhritarashtra's sons and their allies, hinting at the moral and divine high ground held by the Pandavas and the righteousness of their cause.

Then, seeing the sons of Dhritarashtra arrayed, and with the exchange of weapons about to begin, the son of Pandu, whose banner bore the emblem of Hanuman (Arjuna), raised his bow. The narrative now shifts to Arjuna's immediate perspective. After the initial conch blasts from both sides, signaling the imminent start of the battle, Arjuna observes the Kaurava army. The description of his banner with Hanuman (Kapi-dhvaja) signifies divine protection and immense strength. Raising his formidable bow, Gandiva, marks the precise moment of readiness for the actual combat, setting the stage for the crucial philosophical dialogue between Lord Krishna and Arjuna that forms the core of the Bhagavad Gita. This initial chunk of the Bhagavad Gita, encompassing verses 1 to 20, masterfully sets the stage for the pivotal dialogue between Krishna and Arjuna. It begins with the anxious inquiry of the blind King Dhritarashtra, revealing his partiality and concern for the impending conflict. Sanjaya then takes over the narration, describing Duryodhana's initial assessment of the Pandava army, wherein he expresses a mix of apprehension and grudging respect for their formidable leaders and strategic arrangement. Duryodhana then attempts to bolster his own confidence and that of his preceptor, Dronacharya, by enumerating the vast and powerful warriors on the Kaurava side, asserting their army's immeasurability under Bhishma's command. This initial exchange of words is followed by the momentous blowing of conch shells. Bhishma initiates the battle sounds from the Kaurava side, leading to a tumultuous cacophony, while Krishna and Arjuna, from their divinely drawn chariot, respond with distinct, powerful conch blasts, followed by the individual sounds of the other Pandava heroes and their allies. This collective sound from the Pandavas is described as piercing the hearts of the Kauravas, foreshadowing their eventual defeat. The chunk concludes with Arjuna, the great archer, raising his bow, Gandiva, ready for battle, thus bringing the narrative to the precipice of war and the commencement of the profound spiritual discourse. 20 Second Video Animation Concept Scene 1 (0-4 seconds): Dhritarashtra, blind and regal, asks Sanjaya about the armies. Sanjaya bows, ready to narrate. Setting is a royal tent. Scene 2 (4-8 seconds): Duryodhana observes the Pandava army, looking worried. He approaches Dronacharya, who stands tall and wise. Battlefield setting. Scene 3 (8-12 seconds): Bhishma, a powerful, older warrior, blows his conch shell loudly. The Kaurava army roars in response. Close-up on Bhishma, then a wide shot of the army. Scene 4 (12-16 seconds): Krishna and Arjuna stand in a magnificent chariot with white horses. They both blow their divine conches. Focus on their faces and the conches. Scene 5 (16-20 seconds): Arjuna, determined, raises his bow (Gandiva). The Pandava army stands behind him, ready for battle. A panoramic view of the Pandava army.

Meaning: Arjuna said: My dear Infallible One (Krishna), please place my chariot between the two armies. Arjuna addresses Krishna as "Achyuta," meaning "one who never falls from his position" or "infallible." This appellation acknowledges Krishna's divine nature and steadfastness, even as Arjuna is about to ask Him to perform the role of a mere charioteer. Arjuna's request is to gain a clear perspective of the opposing forces before the battle commences.

Meaning: So that I may behold those who are standing here, desirous of fighting, and with whom I must contend in this great military endeavor. Arjuna wants to observe and identify the specific individuals arrayed against him. He uses the term "yoddhukāmān" (desirous of fighting), indicating his understanding that the confrontation is imminent and unavoidable, yet he wishes to survey the combatants for his own clarity before engaging.

Meaning: Let me see those who have come here to fight, intending to please the evil-minded son of Dhritarashtra (Duryodhana) by fighting for him in this battle. Arjuna specifically wants to see those who are aligned with Duryodhana, whom he describes as "durbuddhi" (evil-minded or wicked). He recognizes that these individuals, many of whom are his own relatives, are fighting out of loyalty or obligation to Duryodhana's unjust cause.

Meaning: Sanjaya said: O Bharata (Dhritarashtra), thus requested by Gudakesha (Arjuna), Hrishikesha (Krishna) placed the excellent chariot between the two armies. Sanjaya, reporting to King Dhritarashtra, indicates that Krishna, the Lord of the senses (Hrishikesha), complied with Arjuna's request. Arjuna is referred to as "Gudakesha," meaning "one who has conquered sleep" or "conquered ignorance," highlighting his discipline and spiritual inclination, even amidst his current distress.

Meaning: In front of Bhishma, Drona, and all the kings of the world, He (Krishna) said, "O Partha (Arjuna), behold all the Kurus assembled here." Krishna deliberately positions the chariot where Arjuna can clearly see the most prominent figures of the Kaurava army, particularly his granduncle Bhishma and his guru Dronacharya. By saying "behold all the Kurus," Krishna emphasizes that these are Arjuna's own kinsmen, thereby confronting him with the full reality of the situation.

Meaning: There, Partha (Arjuna) saw standing fathers, grandfathers, teachers, maternal uncles, brothers, sons, grandsons, and also companions. As Krishna brings the chariot to the center, Arjuna's gaze falls upon a vast array of his own family members and revered figures. This detailed enumeration underscores the deeply personal nature of the conflict for Arjuna, as he recognizes every significant relationship—familial, educational, and friendly—on the opposing side.

Meaning: Also fathers-in-law and well-wishers in both armies. Seeing all these relatives arrayed, the son of Kunti (Arjuna)... Arjuna identifies not only his direct blood relations but also those connected by marriage (fathers-in-law) and close friends ("suhṛdaḥ"). The sight of these revered and beloved figures on both sides, preparing for battle, deepens his emotional distress and highlights the profound moral dilemma he faces.

Meaning: ...became overwhelmed with great compassion and spoke this with sorrow: "O Krishna, seeing these my kinsmen, who are desirous of fighting, present before me..." The immediate effect of seeing his relatives is a surge of intense compassion ("kṛpayā parayāviṣṭo"). This compassion leads to profound sorrow ("viṣīdanni"), completely changing his warlike resolve. Arjuna now articulates his inner turmoil, directly addressing Krishna.

Meaning: My limbs are quivering, my mouth is drying up, my body is trembling, and my hair is standing on end. Arjuna describes the physical manifestations of his mental anguish. These are classic symptoms of extreme fear, grief, and emotional shock: loss of physical control, dryness of mouth, trembling, and goosebumps. This indicates the depth of his emotional and psychological distress at the prospect of fighting his own kin.

Meaning: My Gandiva bow is slipping from my hand, my skin is burning, and I am unable to stand steady. My mind is reeling. The physical symptoms intensify: his mighty bow, Gandiva, slips from his grasp, his skin feels a burning sensation, and he cannot maintain his composure or stand firm. Most critically, his mind ("manaḥ") is in turmoil, "reeling" or "confused," indicating a complete loss of mental equilibrium and resolve for battle.

Meaning: O Keshava (Krishna), I see only adverse omens, and I foresee no good in killing my own kinsmen in battle. Arjuna perceives negative omens, believing that fighting his relatives will only lead to dire consequences, not a favorable outcome. He explicitly states that he sees "no good" (na ca śreyo) in such an act, expressing a deep moral conviction that the victory, if achieved at such a cost, would be hollow and sinful.

Meaning: O Krishna, I do not desire victory, nor kingdom, nor pleasures. O Govinda, what is the use of a kingdom, or enjoyments, or even life itself? Arjuna unequivocally rejects the fruits of victory. He declares that he has no desire for the kingdom, material pleasures, or even life itself, if these come at the cost of his kinsmen's lives. This indicates a profound re-evaluation of his priorities, placing family and moral integrity above all material gains.

Meaning: For whom we desire kingdom, enjoyments, and happiness—they are standing here in battle, having renounced their lives and riches. Arjuna points out the tragic irony: the very people for whom he would typically desire to attain kingdom and happiness (his family) are the ones he is now expected to kill. He notes that these kinsmen are prepared to sacrifice "their lives and riches" (prāṇāṁstyaktvā dhanāni ca), underscoring the futility of victory if it means destroying the very foundation of his happiness.

Meaning: Teachers, fathers, sons, and also grandfathers, maternal uncles, fathers-in-law, grandsons, brothers-in-law, and other relatives. Arjuna reiterates the long list of revered and dear relations facing him. This repetition emphasizes the sheer number and variety of his loved ones on the opposing side, reinforcing his deep emotional connection and the magnitude of his internal conflict.

Meaning: O Madhusudana (Krishna), I do not wish to kill them, even if they kill me, not even for the sovereignty of the three worlds—what then for the earth? Arjuna makes his firm resolve: he has no desire to kill them, even if they are aggressors who might kill him. He states that he would not fight for the kingship of all three worlds (heaven, earth, and lower realms), let alone just for a mere earthly kingdom. This highlights the absolute moral line he draws, valuing peace and the lives of his kinsmen above all worldly power and glory.

Meaning: What pleasure can be ours, O Janardana (Krishna), by killing these sons of Dhritarashtra? Sin alone will accrue to us by slaying these aggressors. Arjuna questions the very concept of joy or satisfaction ("prītiḥ") from such a victory. Even though the Kauravas are "atātāyinaḥ" (aggressors or felons), he argues that killing them, being his relatives, would result in only "pāpam" (sin) and not merit. This expresses his deep concern for the karmic repercussions of such an act.

Meaning: Therefore, it is not proper for us to kill the sons of Dhritarashtra, our own kinsmen. How can we be happy by slaying our own family, O Madhava (Krishna)? Arjuna reiterates that killing his own relatives is morally improper. He asks a rhetorical question, "How can we be happy?" (kathaṁ hatvā sukhinaḥ syāma), implying that such a victory, stained by the blood of kinsmen, would bring no true happiness or peace of mind.

Meaning: Although they, whose minds are overcome by greed, do not see the sin of destroying the family and the evil in betraying friends. Arjuna acknowledges that the Kauravas (referred to as "they") are blinded by "greed" (lobhopahatacetasaḥ) and thus cannot perceive the "doṣam" (fault or sin) of destroying their lineage ("kulakṣaya") or the "pātakam" (sin) of betraying friends. This implies that Arjuna, unlike them, does see these grave consequences.

Meaning: Why should we not, who clearly see the evil in destroying the family, learn to turn away from this sin, O Janardana (Krishna)? Arjuna argues that if he and the Pandavas are aware of the devastating sin of "kulakṣaya" (destruction of the family line), then it is their moral obligation to step back from it. He asks Krishna why they, seeing the truth, should not be wiser and refrain from such a sinful act.

Meaning: With the destruction of the family, the eternal family traditions (kuladharma) are lost. When tradition is lost, irreligion (adharma) overtakes the entire family. Arjuna elaborates on the consequences of "kulakṣaya." He explains that the annihilation of a family leads to the loss of "sanātanāḥ kuladharmāḥ"—the ancient, eternal family traditions, values, and duties. The decay of these traditions, in turn, allows "adharma" (unrighteousness or irreligion) to dominate the entire lineage, leading to societal degradation. This section, covering verses 21-40, vividly portrays Arjuna's descent into despair and moral conflict. Initiated by his request to Krishna to place his chariot between the armies, Arjuna is confronted with the horrifying reality of fighting his own kinsmen, including revered elders, teachers, and beloved family members. Overwhelmed by profound compassion and grief, Arjuna experiences severe physical and mental distress, symbolized by his trembling limbs, dry mouth, and the slipping of his Gandiva bow. He articulates his firm conviction that there is no good to be gained from such a fratricidal war, rejecting victory, kingdom, and pleasure if they come at the cost of his family's lives. Arjuna argues that even if the Kauravas are aggressors, killing them would only accrue sin, and that those who can perceive the evil of family destruction should refrain from it. He emphasizes that the destruction of a family leads to the loss of sacred traditions (kuladharma) and the rise of unrighteousness (adharma), further cementing his resolve to abstain from battle. This passage sets the critical stage for Krishna's philosophical discourse, as Arjuna's profound ethical dilemma becomes the catalyst for the timeless teachings of the Bhagavad Gita. 20 Second Video Animation: Arjuna's Dilemma This script outlines a short animated sequence depicting Arjuna's emotional journey on the battlefield. Scene 1 (Duration: 5s) Description: Arjuna, in his chariot driven by Krishna, surveys the Kurukshetra battlefield. His face is determined but troubled. The opposing army, filled with familiar faces, stands ready. Visuals: Wide shot of Kurukshetra. Arjuna and Krishna in a golden chariot. Zoom in on Arjuna's face, then pan across the opposing army. Audio: Sound of conches and drums, fading into Arjuna's heavy breathing. Scene 2 (Duration: 7s) Description: Close-up on Arjuna as he recognizes Bhishma Pitamah and Dronacharya. His expression shifts to shock and grief. Gandiva slips from his hand. Visuals: Focus on Arjuna's face as images of Bhishma and Drona flash in his mind. His hand loosens, and the bow begins to fall. Audio: A discordant string instrument, followed by the sound of a bow hitting the ground. Scene 3 (Duration: 5s) Description: Arjuna clutches his head in despair. His body trembles, showing physical signs of distress. Krishna looks at him with compassion. Visuals: Arjuna with his hands on his head, body shaking. Quick cuts to show sweat on his brow and tears in his eyes. A soft focus shot of Krishna's understanding face. Audio: Wind blowing sound effect, with a faint, mournful flute melody. Scene 4 (Duration: 3s) Description: Arjuna lowers his head, defeated. The scene fades to white, symbolizing his moral paralysis. Visuals: Arjuna bowing his head in defeat. A bright white light gradually fills the screen. Audio: A single, sustained note on a flute, fading to silence. Characters: Arjuna: A noble warrior, resembling depictions from Mahabharata era. He is strong and skilled but emotionally vulnerable. Attire: Traditional warrior attire with golden armor and a crown. Krishna: Divine charioteer with a serene and compassionate demeanor. Resembling depictions from Mahabharata era. Attire: Yellow dhoti and a peacock feather crown. Bhishma: Grandfather figure, wise and respected. Resembling depictions from Mahabharata era. Attire: White robes and a long white beard. Drona: Respected teacher and warrior. Resembling depictions from Mahabharata era. Attire: Warrior attire with a sacred thread. Setting: Kurukshetra battlefield, a vast plain with armies arrayed on either side. Ancient India setting.

When the family is destroyed, irreligion prevails, and from irreligion, O Krishna, the women of the family become corrupt, and from the corruption of women, unwanted progeny arises. This unwanted progeny creates a hellish situation both for the family destroyers and for the family itself. The ancestors of such corrupt families fall from heaven, because the offerings of rice-ball and water are suspended for them.

Due to these misdeeds of the destroyers of the family, which result in the creation of unwanted progeny, the eternal family traditions and community duties are annihilated.

O Janardana (Krishna), we have heard by disciplic succession that those whose family traditions are destroyed dwell perpetually in hell.

Alas, how strange it is that we are determined to commit great sin, being driven by the desire for kingdom and its pleasures, we are ready to kill our own kinsmen.

Better it would be for me if the sons of Dhritarashtra, with weapons in hand, were to kill me, unresisting and unarmed, in the battle.

Sanjaya said: Having spoken thus on the battlefield, Arjuna, casting aside his bow and arrows, sat down on the chariot seat, his mind overwhelmed with grief.

Sanjaya said: To him, Arjuna, who was thus overwhelmed with compassion, whose eyes were full of tears and agitated, and who was despondent, Madhusudana (Lord Krishna) spoke these words.