Gita 01.13 – Rituals Of War Express And Stimulate The Martial Spirit

 

Audio Link 2: Gita 01.13 – Rituals of war express and stimulate the martial spirit

 

tataḥ śaṅkhāś ca bheryaś ca

paṇavānaka-gomukhāḥ

sahasaivābhyahanyanta

sa śabdas tumulo ’bhavat

 

Word-for-Word:

tataḥ — thereafter; śaṅkhāḥ — conchshells; ca — also; bheryaḥ — large drums; ca — and; paṇava-ānaka — small drums and kettledrums; go-mukhāḥ — horns; sahasā — all of a sudden; eva — certainly; abhyahanyanta — were simultaneously sounded; saḥ — that; śabdaḥ — combined sound; tumulaḥ — tumultuous; abhavat — became.

 

Translation:

After that, the conch shells, drums, bugles, trumpets and horns were all suddenly sounded, and the combined sound was tumultuous.

 

Explanation:

In this verse, the first word ‘tataḥ’ means ‘after’—after Bhīṣma blew his conchshell to signal the commencement of hostilities. The primary signal for the beginning of the battle was indeed the blowing of conchshells. However, this was not the only signal—other instruments are also mentioned in this verse as secondary signals.

 

For a warrior, war was almost like a sporting event. However, unlike sports, the stakes in war were significantly higher—often involving life and death. Those who were defeated faced the possibility of death. Yet, warriors understood, to some extent, that there was an imperishable aspect to their being. They believed that sacrificing their lives for the sake of virtue would ensure their ascent to heaven. This belief imbued the war with a certain celebratory mood. Kings, too, embraced the notion that a heroic death on the battlefield would grant them a worthy destination in the celestial realms.

 

Unlike modern warfare, where soldiers are often stationed in remote outposts, struggling for basic necessities like food and water, ancient battles were fought under different conditions. The fear and unpredictability of modern guerilla warfare were absent in such conflicts, where attacks can come from anywhere at any time, and the enemy might overpower them. Additionally, nature itself often poses as much of a threat as the enemy.

 

In contrast, wars in ancient times were fought in designated locations and during agreed-upon times. Once the fighting hours were over, warriors could even cross over to the opposing side and engage in friendly conversation.

 

This camaraderie can be likened to the fierce rivalry between India and Pakistan in cricket. While the competition on the field may be intense, once the match is over, players often set aside their rivalry and interact as friends off the field. Similarly, ancient warriors demonstrated a unique blend of intensity during battle and cordiality outside of it.

 

Similarly, in this context, a celebratory mood is evident. It is not only the warriors’ conches being blown but also kettle drums (śaṅkhāś ca bheryaś ca). These kettle drums were not played by the warriors themselves—their assistants handled such tasks. The warriors, often kings, were accompanied by attendants, doctors, and servants.

 

When a war took place, it was not merely a battle but an event that required significant logistical support. Practically, an entire makeshift city would spring up on the outskirts or periphery of the battlefield to serve the warriors and their needs. This city provided the infrastructure necessary to sustain the armies and ensure the smooth functioning of the war effort.

 

paṇavānaka-gomukhāḥ: Paṇava refers to an instrument similar to the hand cymbals used in kīrtans. These terms can sometimes have varied translations based on context. Anaka is understood as drums and is also associated with Anakadundubhi, a name of Vasudeva, given because drums were sounded to celebrate his birth.

 

Gomukhāḥ: While the word ‘go’ generally means cow, in this context, it refers to bull horns—a specific type of horn used in such situations.

 

Sahasaivābhyahanyanta: ‘Sahasa’ means suddenly or all of a sudden. This indicates how, at the sound of one conchshell, a chain reaction was triggered, leading to a spontaneous burst of sound.

 

For instance, on a college campus, imagine 50 bicycles lined up next to each other. If one falls, it triggers a domino effect, causing the others to fall in succession. Similarly, in this war setting, as soon as Bhīṣma blew his conchshell, everyone else immediately followed suit, blowing their own conches.

 

Although it was a battlefield, there had been a relative silence because two major warriors had been conversing. It wasn’t complete silence, of course, but there was a noticeable stillness. However, the moment the first conchshell sounded, a tremendous noise erupted. With all the various instruments being played simultaneously, the resulting sound was tumultuous—sa śabdas tumulo ’bhavat.

 

In one sense, we could describe it positively as a festival of sound. From another perspective, it could be seen negatively as a riot of sound. Either way, the tumultuous sound marked the beginning of the war.

 

The Bhagavad-gītā, though primarily a philosophical text, offers in its first chapter a succinct depiction of the culture surrounding warfare at that time. The war was approached with a celebratory mood, resembling the spirit of a sporting event. Just as sports are meant to be played with a sporting spirit, wars were expected to be fought with a similar ethos. This is why strict war codes were established and adhered to, ensuring that even amidst conflict, certain principles were upheld.

 

Here, the warriors are not paranoid, thinking, “Oh, I might die here. What will happen to me?” While it is natural for all human beings to have some fear of death, these warriors are guided by a sense of honor that they value more than life itself. This honor inspires them to face the battlefield with excitement and stimulation.

 

Most of these warriors have spent years honing their skills, dedicating themselves to becoming skilled, adept, and expert in the art of warfare. Now, they see this as an opportunity to showcase their abilities. The sounds of the conches and other instruments reflect this charged mood, and at the same time, they help to amplify and set the tone for the impending battle.

 

In every human activity conducted on a large scale, certain rituals play a key role. These rituals not only stimulate certain emotions but also serve as a means of expressing them. For instance, a national army has its national anthem, a national flag, a specific marching style, and a particular way of saluting. What do these represent? In essence, they are rituals of nationalism.

 

Rituals are not exclusive to religion—they permeate all aspects of human life and culture. They provide structure, create shared experiences, and give recognition to patterns of human behavior. By doing so, they help unify people and evoke a sense of identity and purpose within a collective.

 

When we meet someone, we naturally extend our hand and shake hands, as this is the socially accepted way to greet one another in a civil and respectful manner. If there were no ritual of shaking hands, we would be uncertain about how to greet each other. Of course, some people may choose to fold their hands as a greeting, which is another ritual. The key point, however, is that these are all rituals.

 

Rituals should not be dismissed as mere sentimentality or meaningless actions. It is important to understand the sentiment and meaning behind the rituals, and then assess whether these sentiments are valid and whether the rituals serve their intended purpose.

 

The blowing of not just the conchshells, but all the other instruments, conveys multiple layers of meaning. On one level, it signals that the warriors are eager to fight, reflecting the celebratory mood of the occasion. On another level, it serves to stimulate that mood, marking the moment when the war is about to begin.

 

Certain sounds have the power to kindle specific memories and emotions. For example, patriotic songs we may have heard in childhood can evoke strong patriotic sentiments when we hear them again. Similarly, different sounds can trigger various emotions, shaping the atmosphere and the psychological state of those involved. In this case, the sounds are intended to stimulate the warriors to fight wholeheartedly, to ignite their martial spirit, and to help them perform at their best.

 

This sudden burst of sound came after a conversation, marking the transition from a moment of discussion to the beginning of action. Up until now, the narrative focused on the actions of the Kauravas—Duryodhana approaching Drona, speaking to him, and then Bhīṣma blowing his conchshell, followed by the others joining in with their instruments.

 

From the next verse onward, the focus will shift to the Pāṇḍavas’ side, bringing attention to their preparations and actions as the battle draws near.

 

For the first time in the Bhagavad-gītā, the two conversationists who will play a central role throughout the text, whose dialogue will make up more than 95% of the Gītā, are about to appear. The Supreme Lord’s presence will be revealed for the first time in the Gītā in the upcoming verse. We will discuss this in our next session.

 

Thank you.