REFERENCES ON WARFARE IN SANSKRIT WORKS

Transcription

1 28 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, Arthas āstra 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 weapon 1. 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

2 29 Vedic hymns narrate Indra s Vajrāyudha. Actually the Vajrāyudha is a piece of human bone 1. 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 Indra 2. 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 weapon 3. In other words the ancestors 1 Mahābhārata S alya Parvam adyāya 51, see also Purāṇic encyclopedia p Mahābhārata S alya Parvam adyāya 51, see also Purāṇic encyclopedia p

3 30 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 Pura ṇas. The Trimūrti concept was developed in Purāṇas. Brahma, Viṣṇu and S iva are considered as the Trimūrtis. Brahma holds the charge of creation, Viṣṇu controls and S iva destructs. In Veda these deities are not of much Importance. The deity, S iva, was not referred to in Veda. Lord Rudra is the primitive form of S iva in Veda 1. Goddesses like Kāli, Durga and Lakṣmi got importance in Purāṇas. 1 en.wikipedia.org/wiki/shiva

4 31 Purāṇas also provide apt narrations about war and weapons. Agnipurāṇa, S ivapurāṇa, 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, S ivapurāṇa 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 p

5 32 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

6 33 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 S iva. This reveals the social acceptance of weaponry at that time. In Rāmāyaṇa, we can see the importance of

7 34 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, Vis vāmitra advised Rāma and Lakṣmaṇa about forty-five divine weapons to defeat the demon Tāṭaka. Rāmāyaṇa says, त न द न भदर त दद म य ण सवर श दण डचकर महद द तव द स य म र घव धमर चकर तत व र क लचकर तथ व च वष ण चकर तथ स य गर म न दर चकर तथ व च वजर म नरशर श व श लवर तथ अ बर शर व ऐष कम प र घव दद म त मह ब ह बर म मन मम गद च व क क स त थ म दक शखर श भ पर द नरश द र ल पर यच छ म न प त मज धमर प शमह र म क लप श तथ व च व र ण प शम च दद म यहमन मम अशन पर यच छ म श ष क दर रघ नन दन दद म च प न कम न र यण तथ आग न यम द यत शखर न म न मत व य पर थम न म दद म तव च नघ अ हय शर न म कर म तथ व च

8 35 श क त य च क क त स थ दद म तव र घव कङक ल म सल घ र क प लमथ क ङ कण म वध थ र क षस य न दद म य त न सवर श व धर मह च नन दन न म न मत अ सर मह ब ह दद म न वर त मज ग न धवर म द यत म हन न म न मत पर पन पर शमन द स म य च र घव वषर ण श षण च व स न त पन वल पन म दन च व द घर षर कन दपर द यत तथ ग न धवर म द यत म नव न म न मत प श चम द यत म हन न म न मत पर त च छ नरश द र ल र जप तर मह यश त मस नरश द र ल स मन च मह बलम स वतर च व द घर षर म सल च न प त मज सत यम मह ब ह तथ म य मय परम स र त ज पर भ न म परत ज पकवर णम स म श शर न म त व म स द र णम द र ण च भगस य प श त ष मथ म नवम 1 The above verses of Rāmāyaṇa narrate the divine weapons taught by Vis vāmitra to his students Rāma and Lakṣmaṇa. 1 Vālmīki Rāmāyaṇa Bālakāṇda sargam 27 s loka 1-20

9 36 There is also another story behind the origin of these divine arrows. The Prajapati called Kṛs ās va married Jayā and Suprabhā the daughters of Dakṣaprajāpati and to both were born fifty sons each. All the sons were really arrows called Saṃhāra. Vis vāmitra, by the power of penance made these hundred sons (arrows) of Kṛs ās va his own. It was these arrows, which Vis vāmitra 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

10 37 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

11 38 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 s aras ayya 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 Manusmṛti adyāya 7 s loka 88, see also Purāṇic encyclopedia, p 1030

12 39 as vamedha 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 s loka 88, see also Purāṇic encyclopedia, p 1030

13 40 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. कमर ण य व धक रस त म फल ष कद चन म कमर फलह त भ र म त स ग स त वकमर ण 1 This s loka 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. प जन य ऋष क श द वद धन जय प ण डर दध म मह श ख भ मकम र व क दर अनन त वजय र ज क न त प तर य ध र: नक ल सहद व स घ षम णप ष पक 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 ibid

14 41 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 s lōka is very famous. क तस त व कश मल मद वषम सम प स थतम अन यर ज मस वग यर मक तकरमज र न 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 s loka 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

15 42 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 आवह ष मथ न य न य जघ सन त मह क षत य ध यम न पर शक त य स वगर य न त यपर ङ म ख 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 s loka 89, see also Purāṇic encyclopedia, p 1030

16 43 न च हन य त स थल र ढ न न क ल ब न क त ल म न म क तक श स न न तव स म त व दनम न स न वस ह न नग न न नर य धम न य ध यम न पश यन त न पर ण सम गतम न य ध सनपर न र तप रक षतम न भ त न पर व सत धमर मन स मरन 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. 1 Manusmṛti adyāya 7 s loka 91,92,93, see also Purāṇic encyclopedia, p 1030

17 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 s loka 94,95 see also Purāṇic encyclopedia, p Manusmṛti adyāya 7s loka 96

18 45 References in Arthas āstra Arthas āstra of Kautilya also have a detailed account of war and war strategy. The tenth chapter of Arthas āstra 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 pinlike 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

19 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 Arthas āstra( tr.) by R Shamasastry, p 523

20 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. Arthas āstra 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 Arthas āstra( tr.) by R Shamasastry, p 528

21 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

22 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, As vaṭhāma appears with the intent to seek revenge for Duryodhana and to kill the Pāṇdavas during the night, and

23 50 As vaṭhāma 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 As vaṭhāma 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 S alya. The story of Karṇa s learning the astras from Paras ura 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, Karnạ 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 Bha sa s Play, Karnạ has no clue to the same and is taken by surprise when a Brahmin wants alms from him. Karnạ 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 Karnạ s Kavaca and kuṇdala and at last Karṇa offers it to Indra. Here also the way

24 51 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 As vaṭhāma. He was installed as commander in chief by the dying Duryodhana, after he was hit by Bhīma in a mace fight. As vaṭhāma, 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 As vaṭhāma 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.

25 52 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 Dus āsana 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

26 53 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

27 54 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, reflect the Epics, Bhagavadgītā, Manusmṛti, Arthas āstra and dramas social acceptance of war and weaponry of ancient time. Purāṇas give equal importance to spirituality and material life. Arthas āstra 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, As vaṭhāma s revenge and the like. Strīparvan of

28 55 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.