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Chapter-2

REFERENCES ON WARFARE

IN SANSKRIT WORKS

The passion towards war and weapons of ancestors was very

deep. It continued through generations. Almost all the ancient Sanskrit

works reflect the colour of war and weapons. The Vedas, Purāṇas, epics,

Bhagavadgītā, Manusmṛti, Arthasāstra and other works of Sanskrit

literature have narrations about war and artillery. Even in the creative

writings of Sanskrit, there are narrations about war and weapons.

In Ṛgveda, most of the hymns praise lord Indra. About 250 hymns in

Ṛgveda deals with Lord Indra and his weapon1. Vedic hymns praise Indra

and other gods as good soldiers. Indra, Varuṇa, Vāyu, Marut, Rātri etc. are

in the form of warriors. Most of the Vedic hymns worship Lord Indra and

his powerful weapons. The Vajrāyudha of Indra is very famous. Many

                                                            1 http://en.wikipedia.org/wiki/indra

 

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Vedic hymns narrate Indra’s Vajrāyudha. Actually the Vajrāyudha is a

piece of human bone1. But the Vedic chants narrate this bone as very hard

and unconquerable. The tribal culture of Vedic age is revealed here. Their

weapons are natural materials. The Indradhanuṣ of Indra is another

example of ancestor’s imagination. Actually Indradhanuṣ is rainbow. The

ancestors believed that it was the weapon of Indra2.

After the invention of Agni, man became more civilized. The

concept of weapons was also changed. He used metals, Agni and the like

as weapons. In early days he used weapons for self protection. He made

weapons for maximum destruction. War became very common and was

carried out for domination and power. The Gods of Hindu mythology have

powerful weapons for mass destruction. They believed that their gods are

great warriors. They worshipped gods to fulfill their material life. All

worships were done for victory and domination. Indra the powerful deity in

Veda holds a human bone as weapon3. In other words the ancestors

                                                            1 Mahābhārata Salya Parvam adyāya 51, see also Purāṇic encyclopedia p 539-540 2http://en.wikipedia.org/wiki/Indra

3 Mahābhārata Salya Parvam adyāya 51, see also Purāṇic encyclopedia p 539-540  

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modified the concepts of gods and weapons from time to time. By the

gradual development new metals, the ancestors learned to produce new

models of weapons. As a result of this, the concept of weapons and gods

had much modifications and changes. Some new deities got more

importance than the Vedic deities. Some Vedic deities became

unimportant.

References in Purāṇas

Some new deities appeared as warriors and some Vedic deities

disappeared in the Purāṇic period. Indra and Varuṇa became less

important in Puraṇas. The Trimūrti concept was developed in Purāṇas.

Brahma, Viṣṇu and Siva are considered as the Trimūrtis. Brahma holds the

charge of creation, Viṣṇu controls and Siva destructs. In Veda these

deities are not of much Importance. The deity, Siva, was not referred to in

Veda. Lord Rudra is the primitive form of Siva in Veda1. Goddesses like

Kāli, Durga and Lakṣmi got importance in Purāṇas.

                                                             1 http:// en.wikipedia.org/wiki/Shiva

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Purāṇas also provide apt narrations about war and weapons.

Agnipurāṇa, Sivapurāṇa, Narasimha purāṇa, Bhāgavatapurāṇa,

Brahmapurāṇa and the like narrate war and weapons. Actually Purāṇas

glorified the war stories. Almost all the eighteen important Purāṇas have

narrations about artillery. In Agnipurāṇa, battle is classified into five,

yantramukta, Pāṇimukta, Muktasandhārita, Amukta and Bāhuyudḍha.

Besides these classifications Agnipurāṇa divided the whole battle into two,

ṛju (direct) and māya (magical).1 There are descriptions about the correct

posture of shooting and the like in such narrations.

The incarnations, of Viṣṇu and their exploits are the main theme of

Bhāgavata. Brahmapurāṇa, Sivapurāṇa and other Purāṇas narrate the

objectives of each incarnation of these deities. Main objectives of all

incarnations are to destroy demons. The narrations in each incarnation

include war, artillery and victory. In fact, all of the sacred books in Sanskrit

are inclusive of clear narration about war and weapons. As a result of such

narrations hero worship developed into the main stream and later on got a

colour of spirituality.                                                              1 Kalāvidyāvivaraṇam p215-216

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References in Epics

The epics are also good example for war and artillery. Both the

epics, Rāmāyaṇa and Mahābhārata have clear narrations of war. The war

strategy was discussed in these words in a standard form. One can see

the well equipped artillery and a well planned war. Both Rāmāyaṇa and

Mahābhārata have huge and separate chapters on war. The live

commentary of Mahābhārata battle field is narrated in Bhagavadgītā, in

which Lord Kṛṣṇa was trying to encourage Arjuna for war. Yuddhakāṇda in

Rāmāyaṇa describes war and weapons. The ancient war strategy is

revealed here. Different types of ancient weapons are glorified. In Rāma-

Rāvaṇa war a lot of powerful weapons are used. Both Epics praise war as

the greatest thing. In these Epics, the background of war and war

techniques were more closely connected with common people.

In epic stories, education starts with the training of weapon and

martial arts. Knowledge of both textual and martial arts are of equal

importance in education. The final test is also inclusive of both textual

knowledge and practical knowledge in weapons. The talented students

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were those who supposed to be experts in weapon practice. The custom

was that a good warrior is a good student who dominates the society. The

one who holds more powerful and sacred weapons is considered as a

good warrior.

Rāmāyaṇa

The emergence of Rāmāyaṇa is from the anguish pain of death. The

author Vālmīki inspired by the tragic veiling’s of the she-bird which

mourning over the death of the he-bird and this incident was caused the

emergence of Rāmāyaṇa. Vālmīki, curses the hunter and he mourns over

the tragic death of birds. But one can see the war and war techniques

throughout Rāmāyaṇa which begins with the scene of the bird’s death with

an arrow.

In Rāmāyaṇa one can see that all selections of marriage and the like

were done by assessing the skill in the field of weapons. The best example

of this mode of selection is the marriage of Rāma and Sīta. Rāma marries

Sīta by breaking the bow of Siva. This reveals the social acceptance of

weaponry at that time. In Rāmāyaṇa, we can see the importance of

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weapon in the field of education. The saints gave more importance to

weapon training. They advised divine weapons to their students. In

Bālakāṇda of Rāmāyaṇa, Visvāmitra advised Rāma and Lakṣmaṇa about

forty-five divine weapons to defeat the demon Tāṭaka. Rāmāyaṇa says,

तािन िद ािन भदर त ददामय ािण सवरशः । दणडचकर महद िद तव दासयािम राघव ॥ धमरचकर ततो वीर कालचकर तथव च । िवषणचकर तथासयगरमनदर चकर तथव च ॥ वजरम नरशर शव शलवर तथा । अ बर िशर व ऐषीकमिप राघव ॥ ददािम त महाबाहो बरा म मन मम । गद चव काकसतथ मोदकीिशखरी शभ ॥ परदी नरशादरल परयचछािम नपातमज । धमरपाशमह राम कालपाश तथव च ॥ वारण पाशम च ददामयहमन मम । अशनी परयचछािम शषकादर रघननदन ॥

ददािम चा पनाकम नारायण तथा । आगनयम दियत िशखर नाम नामतः ॥ वाय परथम नाम ददािम तव चानघ । अ हयिशरो नाम करौ म तथव च ॥

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शिकत य च काकतसथ ददािम तव राघव । कङकाल मसल घोर कापालमथ िकिङकणीम ॥ वधाथ राकषसा यािन ददामयतािन सवरशः । व ाधर महा च ननदन नाम नामतः ॥ अिसर महाबाहो ददािम नवरातमज । गानधवरम दियत मोहन नाम नामतः ॥ पर ापन परशमन दि सौमय च राघव । वषरण शोषण चव सनतापनिवलापन ॥ मादन चव दघरषर कनदपरदियत तथा । गानधवरम दियत मानव नाम नामतः ॥ पशाचम दियत मोहन नाम नामतः । परतीचछ नरशादरल राजपतर महायशः ॥ तामस नरशादरल सौमन च महाबलम । सवतर चव दघरषर मौसल च नपातमज ॥

सतयम महाबाहो तथा मायामय परम । सौर तजः परभ नाम परतजो∫पकवरणम ॥ सोमा िशिशर नाम तवा म सदारणम । दारण च भगसयािप शीतषमथ मानवम ॥ 1 The above verses of Rāmāyaṇa narrate the divine weapons taught by

Visvāmitra to his students Rāma and Lakṣmaṇa.

                                                             1 Vālmīki Rāmāyaṇa Bālakāṇda sargam 27 sloka 1-20

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There is also another story behind the origin of these divine arrows.

The Prajapati called Kṛsāsva married Jayā and Suprabhā the daughters

of Dakṣaprajāpati and to both were born fifty sons each. All the sons

were really arrows called Saṃhāra. Visvāmitra, by the power of penance

made these hundred sons (arrows) of Kṛsāsva his own. It was these

arrows, which Visvāmitra gave to Sri Rāma and Lakṣmaṇa.1

The Rāmāyaṇa was originated at the death of a bird and the

author’s inspiration from the scene. The same Rāmāyaṇa narrates the war

and weapons through the text. It also includes a special chapter for war,

Yudḍhakāṇda, by name. They accept any mode of war techniques for the

sake of victory. For example, in Rāmāyaṇa, the ideal hero Rāma defeated

Bāli by violating the war principles. This assassination of Bali is a typical

imitation of how the hunter kills the bird, which causes the creation of

Rāmāyaṇa. The author justifies this violation of Rāma in his own words.

This incident reveals the ancestor’s attitude towards victory.

In Rāmāyaṇa, Yuddhakāṇda narrates the battle between Rāma and

Rāvaṇa. Here one can see the well equipped war strategy of the ancient

                                                              1 Vālmīki Rāmāyaṇa, bālakāṇda sargam 21& 27. see also Purāṇic encyclopedia, p 320 

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times. The Yuddhakāṇda in Rāmāyaṇa narrates the mythological war. The

ancient war strategy is revealed here. Both powerful weapons and

primitive weapons were used in that war. The cavalries of Rāma (vānaras)

used natural materials as weapon. The war in Rāmāyaṇa was more

modified than the Vedic war. Principles of battle were seen. At that time

war became very common in the social life. Different types of weapons and

techniques were practiced. War techniques called Vyūhas were developed

and they practiced in war for defeating the enemies. Harmful weapons and

poisoned arrows were used in war. Actually these are crookedness and it

was termed as—Yuddhatantra. In later period these crookedness became

the law of war.

Mahābhārata

The epic Mahābhārata narrates war and weapons in detail. The first

name of Mahābhārata was Jayā, which means victory. The social custom

in Mahābhārata is also supportive of war and weapons. Education starts

with the training of weapons. Examinations were also included the

demonstrations of weaponry. This reveals the social acceptance of

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weaponry at that time. In Mahābhārata, the war becomes more expanded.

The weapons used were more and more destructive. War strategy was

also developed. Different types of military formations are used in

Mahābhārata war. For example, forming Cakravyūha, Kauravas defeated

Abhimanyu. Animals and chariots were used in war. Elephants and horses

were involved in Mahābhārata battle.1 Crookedness also applied in that

war for victory. Arjuna’s victory over Karṇa is the best example of

crookedness in war. The end of Bhīṣma is another example. Mahābhārata

glorifies the final stage of Bhīṣma. Actually Bhīṣma fell down in the battle

field with injuries from arrows. Arjuna gives him water. But in the epic this

incident is glorified. They celebrate the end of a soldier without any

feelings. The concept sarasayya is a example for the crazy mind of the

ancestors towards war.

On many occasions they fought battle for political means. In ancient

days war was considered as Rājadhaṛma (duty of the king).2 Kings

attacked neighbour states and expanded their country. The concept of

                                                            1 http://en.wikipedia.org/wiki/Elephants_in_war

2 Manusmṛti adyāya 7 sloka 88, see also Purāṇic encyclopedia, p 1030

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asvamedha is also an example of ancestor’s war loving mind. The

preceptors of kings prompted them for battles which were performed for

the sake of their nation. And they advised the people to participate in the

war as a holy thing. Rājatantra, Yudhatantra and vīramṛtyu are the

byproducts of these war politics. The people participated in war for the

sake of their king and kingdom. They fought and died for the king and they

proved their patriotism. Otherwise they may be considered as traitors. The

rulers set this agenda for their own sake and voracious. In later period this

system became the law and the ordinary people were forced to obey the

law. The book writers of later period glorified these laws as ultimate virtue.

By their influences, war in ancient days was considered as Rājadhaṛma.1

Most of the war was done for the selfish sake of the rule. They practiced all

crookedness for victory, and the preceptors theoretically substantiate this

crookedness and called it as Rājadhaṛma and Yuddhatantra.

References in Bhagavadgītā

According to Hindu mythology Bhagavadgītā is of much

importance. Gītā carries the role equal to Vedas. Bhagavadgītā teaches us

                                                              1 Manusmṛti adyāya 7 sloka 88, see also Purāṇic encyclopedia, p 1030 

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dharma, karma or our responsibility and duty in the society. Lord Kṛṣṇa

advised Arjuna in battle field, that battle is a highly responsible duty of

Kṣatriya and everyone should have done his duty well and should leave

anxiety of the result.

कमरणय वािधकारसत मा फलष कदाचन ।

मा कमरफलहतभर मा त सगॊसतवकमरिण ॥1

This sloka represents the ideas in a nut shell. By saying this,

Kṛṣṇa encourages Arjuna for battle. Bhagavadgītā narrates many types of

weapons, which were used in the battle. The beginning of Gītā is with the

narration of a battle field.

पा जनय ऋषीकशो दवद धनजयः।

पौणडर दधमौ महाशख भीमकमार वकोदरः॥

अननतिवजय राजा कनतीपतरो यिधि र: ।

नकलः सहदव सघोषमिणपषपकौ ॥2

The above verses narrate the starting of battle of Mahābhārata. Lord Kṛṣṇa

blew his conch Pāncajanyam; Arjuna, blew Devadattam; and Bhima, the

voracious eater and achiever of great tasks sounded forth his great conch,

                                                            1 Bhagavadgītā 2-47 2ibid 1-15-16

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Pauṇḍram. Yudhiṣthira, son of Kunti, blew the Anantavijaya; Nakula and

Sahadeva blew the Sughoṣa and Maṇipuṣpaka respectively. Gīta

describes battle as our duty. The first chapter of Gīta is Arjuna

viṣādayogam. In this chapter Kṛṣṇa encourages Arjuna for battle. One of

the slōka is very famous.

कतसतवा कशमलिमद िवषम समपिसथतम

अनायरज मसवगयरमकीितकरमजरन ॥1

In this verse one can see the custom and attitude towards war.

Here Kṛṣṇa is blaming Arjuna because he is not willing to fight against his

relatives. From this sloka it is clear that fighting is a great duty. If you are

participating in a war, it will bring you fame and it is your kuladharma

(duty). It highlights a message that when your death is in battle, that death

is a holy one and your ātma (soul) will enter into svarga (heaven).

It is notable that the concept of vīramṛtyu is started from the time

immemorial. In fact this is an attractive offer to the common people to

participate in war. In Bhagavadgītā no one can see any humanitarian

                                                            1 Bagavadgītā 2-2  

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consideration throughout the war. They used all tricks in battle for victory

and ignored the battle rules and laws

References in Manusmṛti

Manusmṛti narrates the law and method of dharmayuḍdha. This

book was written by Manu and was considered as the ancient social

constitution. In ancient India war was considered as Rājadhaṛma.

Manusmṛti narrates war as

आवहष िमथो∫नयोनय िजघासनतो महीिकषतः ।

यधयमानाः पर शकतया सवगर यानतयपराङमखाः ॥1

Manusmṛti narrates the rules of war. For example, if one weapon is

misused in battle in disguise another one and if the opponent objects this

may be considered against the rule of war. Heated arrows are not allowed

to use in battle. This statement indicates that, at that time these were very

common. Manusmṛti also narrates a number of war rules as follows:

                                                            1 Manusmṛti-adyāya- 7 sloka 89, see also Purāṇic encyclopedia, p 1030

43  

न च हनयात सथलारढान न कलीब न कता लीम । न मकतकश ासीन न तवासमीित वािदनम ।। न स न िवस ाह न नगन न िनरायधम । नायधयमान पशयनत न परण समागतम ।।

नायध सनपरा ना र ाितपिरकषतम ।

न भीत न पराव सता धमरमनसमरन ।।1

The above verses narrate the war rules. One who steps down from the

chariot, transgender, one who appears before the soldier with a praying

hand, one who appears without locking his hair, refugees, sleeping man,

sad man, nude and weaponless person, if the warrior has no fighting

mood, one who went for seeing the war, one who is fighting with another

one, one who has damaged his weapon, man who is crying the death by

his son, failed soldier, one who frightened and ran away from the battle

field are exempted from war. The book narrates that these are against

dharmayuḍdha. From the above narrations of war laws Manusmṛti

indicates that the crookedness is very common at that time. In

Mahābhārata Arjuna had killed Karṇa and Bhīṣma in the war employing

some kind of crookedness.

Manusmṛti also reveals that how the people are forced to engage in

battle. There are a number of myths and stories spreaded in the society.

                                                            1Manusmṛti adyāya 7 sloka 91,92,93, see also Purāṇic encyclopedia, p 1030

44  

People fought for the sake of their king and the king fought war for his

wealth in the name of dharmayuḍdha or Rājadhaṛma. People believed that

if a soldier is killed by his enemy while he was running away from the battle

field with fear, then the killed one’s king will get all holiness which the

soldier earned through his whole life. Also he lost his holiness.1 The warrior

can take all the properties which acquired through the battle except

chariot, horse, elephant, umbrella, gold, corn, cow, women, weapon, silver

etc.2

According to Manusmṛti, the soldier must give the expensive items

like gold, silver, stones etc. to the king which he got from the battle. This

reveals the king’s ambition. From this one can conclude that the war done

in the name of Dharmayuḍdha were not for the sake of common people

but to fulfill the king’s ambition to acquire property. The authorities

explained war in many ways and often changed their opinions as per

convenience. They had developed stories, legend and superstitions among

the people to hide reality and the people were forced to participate in war.

                                                            1 Manusmṛti adyāya 7 sloka 94,95 see also Purāṇic encyclopedia, p 1030  

  2 Manusmṛti adyāya 7sloka 96 

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References in Arthasāstra

Arthasāstra of Kautilya also have a detailed account of war and war

strategy. The tenth chapter of Arthasāstra narrates the preparation and

fighting technique of a battle. The book gives an account from the place

of the army camp up to the battle and victory. According to Kautilya,

the army of the lowest quality can march a yojana; that of the middle quality

a yojana and a half and the best army two yojanas. Hence, it is easy to

ascertain the rate of March. The commander should be in the back and put

up his camp in the front. In case of any obstruction, the army should

march in crocodile array in the front, in cart-like array behind, and on

the sides in diamond-like array (i.e., in four or five rows, each having its

front, rear and sides) and in a compact array on all sides. When the army

is marching on a path passable by a single man, it should march in pin-

like array. When peace is made with one and war is to be waged with

another, steps should be taken to protect the friends who are bringing

help against enemies, such as an enemy in the rear, his ally, an

indifferent or king. Roads with obstructions should be examined and

46  

cleared. Finance, the army, the strength of the armies of friends, enemies,

and wild tribes, the prospect of rains, and the seasons should be

thoroughly examined. When the protective power of fortifications and

stores (of the enemies) is on its decay, when it is thought that distress of

the hired army or of a friend's army (of the enemy) is impending; when

intriguers are not for a quick march; or when the enemy is likely to come in

to terms (with the invader), slow march should be made; otherwise quick

march should be made. Waters may be crossed by means of elephants,

planks spread over pillars.1 This reveals that the war was very common in

ancient times.

Kautilya also reveals that how the commander- in-chief encourage

the soldiers for battle. According Kautilya the army chief offered his troops

that, a hundred thousand (panas) for slaying the king (the enemy); fifty

thousand for slaying the commander-in-chief, and the heir-apparent; ten

thousand for slaying the chief of the brave; five thousand for destroying an

elephant, or a chariot; a thousand for killing a horse, a hundred (panas) for

slaying the chief of the infantry; twenty for bringing a head; and twice the

                                                             1 Kautilya’s Arthasāstra( tr.) by R Shamasastry, p 523

47  

pay in addition to whatever is seized. This information should be made

known to the leaders of every group of ten (men)1. Actually these offerings

and fear of the king is forced the soldiers to participate in war. The king

and priest also should take an oath with the soldiers to protect the

country and participate in war. Actually they also encourage the soldiers

for attack.

Besides this information, the book also narrates the four types of

army, cavalry, horsemen, elephant and chariot troops. Kautilya

narrates details how to maintain each force and how to begin attack in the

war. Arthasāstra further provides an account about the animal training for

war. These informations reveal that the popularity of war in ancient time.

Ancestors achieved these knowledge by experience. In other words war

and weaponry was very common and it was very close to the public in

ancient time.

References in Sanskrit creative writings

Early Sanskrit literatures also narrate warfare. The early works adopt

the theme from Purāṇas and epics. Ūrubhanga and Karṇbhāra are the                                                               1 Kautilya’s Arthasāstra( tr.) by R Shamasastry, p 528 

48  

Dramas of Bhāsa, in which there is much details of war and its

consequences. The main theme of these dramas is in connected with war.  

  Ūrubhanga and Karṇbhāra are the only known tragic Sanskrit plays in

ancient India. Both dramas of Bhāsa are based on Mahābhārata stories.

Ūrubhanga is based on the Sauptika Parva of Mahābhārata, which

narrates the final stage of Duryodhana. Karṇbhāra also adopts theme

from Mahābhārata. The epic also narrates the anarchy developed by the

war in Strī Parva.

Ūrubhanga

Ūrubhanga of Bhāsa focuses on the story of the character

Duryodhana during and after his fight with Bhīma.  In the beginning of the

play there are three soldiers who were discussing the battle between the

Kauravas and Pāṇdavas. They describe the scene before them in minute

detail, each taking turn to muse and exclaim over the various details that

they observe. As they progress through the battlefield, they reach to the

battle between the middle Pāṇdava, Bhīma and the, Duryodhana. The

soldiers then proceed to describe the fight between Bhīma and

49  

Duryodhana. The audience is attracted to the battle entirely through the

description of these three soldiers; ultimately, Bhīma falls from

Duryodhana's `incessant blows. Duryodhana, refuses to kill Bhīma while

he is on the ground, instead his thighs were crushed by Bhīma from faul

play and violation of rules. After Duryodhana had fallen, Bhima was carried

away hurriedly by the other Pāṇdavas, and Duryodhana is left alone in the

battleground. This act of faul play incites the anger of Baladeva, who

wants to seek justice. However, Duryodhana stops him, having

become resigned; this begins the part of the play that starts to

emphasize the heroic qualities of Duryodhana. Duryodhana blames Kṛṣṇa

and forgives Bhīma, as the play progresses, he is reconciled with his

blind parents, then his queens (Malavi and Pauravi), and his son.

Duryodhana is distressed about his situation, as he can no longer

salute his father, nor can he let his son sit on his thigh. He also

highlights the futility of war.

At the end of the play, Asvaṭhāma appears with the intent to seek

revenge for Duryodhana and to kill the Pāṇdavas during the night, and

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Asvaṭhāma names Durjaya, Duryodhana's son, as king of the kingdom

just before Duryodhana dies. Here one can see that the victory of Bhīma

over Duryodhana and the revenge of Asvaṭhāma are not in the right way.

Actually the social custom revealed in the drama is that the ancestors

adopted any method for victory.

Karṇbhāra

In the Karṇbhāra of Bhāsa the whole scene is depicted as a

conversation between Karṇa and Salya. The story of Karṇa’s learning the

astras from Parasura ma is exactly as in the Epic. Indra comes in at this

moment, disguised as a Brahmin and prays for a specific gift. In the Epic,

Karna has already been warned by the Sun about Indra’s proposed visit to

him to deprive him of the ear-ornaments which made him invincible; but in

Bhasa’s Play, Karna has no clue to the same and is taken by surprise

when a Brahmin wants alms from him. Karna himself tells him that he will

conquer the earth and give it, or a thousand horses or elephants or cows

if wanted, but Indra cleverly refuses such gifts and demands Karna’s

Kavaca and kuṇdala and at last Karṇa offers it to Indra. Here also the way

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of achieving Karṇa’s Kavaca and kundala by Indra is in a cheating

manner.

Sauptika Parva

Sauptika Parva of Mahābhārata describes the night attack on

Pāṇdava military camp by Droṇa’s son Asvaṭhāma. He was installed as

commander in chief by the dying Duryodhana, after he was hit by Bhīma in

a mace fight. Asvaṭhāma, Kṛpa and Kṛtavarmah secretly entered in to the

military camp of Pāṇdavas. They slew all the surviving heroes like the

Pāncāla prince Dhṛṣtadyumna and the sons of Pāṇdavas by Pāncāli.

This was a brutal massacre flouting all the norms of a rightful battle. The

Pāṇdavas became aware of the battle only next day morning as they

camped in a place quite far away from the Pāncāla camp. Knowing about

the heinous act, the Pāṇdavas chased Asvaṭhāma and revenged him for

the death of their brother in law Dhṛṣtadyumna and their sons by Pāncāli.

Here one can see the clear violation of war principles and also reveals of

ancestor’s war crazy mind.

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Strīparva

Among the extensive 18 Parvas of Mahābhārata, the Book of the

Women is the eleventh book. In Strī Parva, it has been widely explained

how the women of Mahābhārata including Gāndhāri, Kunti and the other

women of the Kurus and Pāṇdavas lament over the dead of their kith and

kin in the battle at Kurukṣetra. Gāndhāri is a vital woman character in

the Mahābhārata. In the epic, she was the daughter of Subala, the king of

Gāndhāra. She was married to Dhṛtarāṣtra, the blind king of Hastinapura

and successor of the Kuru Clan. Gāndhāri voluntarily blindfolded herself

throughout her married life. She was the mother to hundred sons and

one daughter.

According to the book, Strī parva, a detailed account of the pain and

lament for the death has been given. The evil characters of the great

epic, Duryodhana and Dusāsana lost their battle and they became the prey

to their foe. Although Gāndhāri`s sons were portrayed as villains, the

Mahābhārata attributes high moral standards to Gāndhāri. It is being put

forth in the Strī parva that she repeatedly exhorted her sons to follow

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dharma and make peace with the Pāṇdavas. Moreover, Gāndhāri

especially had closer ties with Kunti. Both of them respected each other.

In the Strī parva it is depicted that Gāndhāri made a single exception

to her blindfolded state, when she removed her veils on eyes to see her

son Duryodhana rendering his entire body except his side invulnerable to

any foe. Apart from the mournful act, Gāndhāri was anguished at the

loss of her hundred sons and it resulted in her cursing Lord Kṛṣṇa. This

parvan also provides in sequence the wrath and power of Gāndhāri on his

son’s death.

The Strī parvan also gives the information about Kunti, who was

another sufferer after the battle of Kurukṣetra. She was the mother of the

eldest three Pāṇdava brothers in the Indian epic Mahābhārata. It has been

rightly described in the Strī parvan that the men of Mahābhārata played

dice and waged wars in but it is the women who wield power and

influence. Moreover, it is explained that most of the decisions were taken

by women and decided the fate of men. In the strīparvan it is insisted that

she women are the true leaders of the epic. The battle of Kurukṣetra is

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termed as Dharma Yudḍha. It is observed that at the end of the war very

few warriors were alive and thus the women mourned the loss. Indeed, the

theme of The Book of women is the grief of the women left by the warriors

died or killed in the battle. The book details the keening of palace ladies as

they see their dead husbands and sons. In the Book of women or strī

parvan the portrayal of the women`s grief leads into a crisis of

conscience.

From the above information one can assume that the social culture

will reflect the writings of that age. The ancient Sanskrit writings such

Purāṇas, Epics, Bhagavadgītā, Manusmṛti, Arthasāstra and dramas

reflect the social acceptance of war and weaponry of ancient time.

Purāṇas give equal importance to spirituality and material life.

Arthasāstra and Manusmṛti narrate the war rules and these narrations

reveal that violation of war rules were also very common at that time.

Victory was done by violating the war principles. For example, killing of

Bāli by Rāma in Rāmāyaṇa, Arjuna’s victory over Karṇa, Bhīma’s victory

over Duryodhana, Asvaṭhāma’s revenge and the like. Strīparvan of

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Mahābhārata narrates the anarchy after the battle. From these pictures

one can assume that the ancient mind of India was very affectionate of war

and weaponry.