Gita 01.14 The Gita’s audio-visual camera starts with the character of the questioner’s interest but shifts now to the central characters.

 

Audio link 1: Gita 01.14 The Gita’s Audio – Visual Camera Starts With The Character Of The Questioner’s Interest

 

tataḥ śvetair hayair yukte

mahati syandane sthitau

mādhavaḥ pāṇḍavaś caiva

divyau śaṅkhau pradadhmatuḥ

 

Word-for-Word:

tataḥ — thereafter; śvetaiḥ — with white; hayaiḥ — horses; yukte — being yoked; mahati — in a great syandane—chariot; sthitau — situated; mādhavaḥ — Kṛṣṇa (the husband of the goddess of fortune); pāṇḍavaḥ — Arjuna (the son of Pāṇḍu); ca — also; eva — certainly; divyau — transcendental; śaṅkhau — conchshells; pradadhmatuḥ — sounded. 

 

Translation:

On the other side, both Lord Kṛṣṇa and Arjuna, stationed on a great chariot drawn by white horses, sounded their transcendental conchshells.

 

Explanation:

 

As the Bhagavad-gītā’s narration continues, it describes the unfolding events. Until now, the focus was on the Kaurava side, but it now shifts to the Pāṇḍava side. Most of the Bhagavad-gītā takes place not on the Kaurava or Pāṇḍava side, but between the two armies. It focuses on the conversation between Kṛṣṇa and Arjuna, who are on the Pāṇḍava side. Kṛṣṇa is transcendental, but this does not mean he is uncaring or uninvolved. His transcendence means He is impartial, yet He is also reciprocal.

The verse “tataḥ śvetair hayair yukte” describes Kṛṣṇa and Arjuna situated on a chariot drawn by white horses. The phrase “mahati syandane sthitau” refers to their magnificent chariot, highlighting its grandeur. “Mādhavaḥ pāṇḍavaś caiva” indicates the presence of both Mādhava (Kṛṣṇa) and Pāṇḍava (Arjuna), and “divyau śaṅkhau pradadhmatuḥ” signifies the divine conchshells they blow. This imagery highlights the divine nature of Kṛṣṇa and sets the stage for the narrative.

 

Kṛṣṇa’s divinity will be indicated by the phrase “śrī-bhagavān uvāca” and later through His statements and the revelation of His universal form. But from the very beginning, the use of the word “divya” in “divyau śaṅkhau” emphasizes Kṛṣṇa’s divinity and transcendence, suggesting something extraordinary.

 

While each conch has its own historical significance, their true transcendence comes from their association with Kṛṣṇa. The specifics of these conchshells will be explored in the next verse, but for now, it’s important to recognize how the Bhagavad-gītā introduces Kṛṣṇa. Much like the beginning of a movie is designed to capture the audience’s attention, the Bhagavad-gītā starts in a way that engages the reader. Nowadays, people often watch movies at home and can easily switch to another program if they’re not interested, so the start must be compelling.

 

The Bhagavad-gītā begins before the actual conversation between Kṛṣṇa and Arjuna, with an interesting angle. The narrative begins by describing Duryodhana’s actions before shifting to Kṛṣṇa and Arjuna, which makes sense given the context within the Mahabharata. The Bhagavad-gītā is part of this larger epic, where the events of the Kurukṣetra war and its immediately preceding and succeeding events are narrated by Sanjaya to Dhṛtarāṣṭra. Dhṛtarāṣṭra’s primary concern is his own son Duryodhana, which explains the initial focus on him. He has courted the antagonism of the Pandavas, the displeasure of the sages and his own well-wishers just to pander to Duryodhana’s desires.

 

In the war, Dhṛtarāṣṭra’s foremost concern is what happens to Duryodhana. Thus, the conversation begins with Sanjaya focusing on Duryodhana. The events that unfold afterward then become the focus of the narration.

 

To illustrate the point, consider a cricket match broadcast. If a particular player is a favorite in a country, like Tendulkar or Kohli in India, broadcasters often start with that player to engage the audience. However, the focus eventually shifts to the main action of the match.

 

Similarly, in the Bhagavad-gītā’s camera, Sanjaya’s mystical vision first captures Duryodhana and his actions, discussing the various warriors, then Bhishma blowing his conch, followed by the other Kauravas. The narrative then transitions to the Pāṇḍavas, focusing on Kṛṣṇa and Arjuna, who are central to the unfolding events.

 

Thus, the focus naturally shifts to Kṛṣṇa and Arjuna. This shift emphasizes that they are the two most important figures on the Kurukṣetra battlefield and will play a dominating role in determining the course of subsequent events. This initial focus on Kṛṣṇa and Arjuna highlights their significance for both the eventual course of the Kurukṣetra war and the ensuing discussion.

 

The verse “tataḥ śvetair hayair yukte” depicts Kṛṣṇa and Arjuna on their magnificent chariot drawn by white horses, both blowing their conchshells. In response to Bhishma and the Kauravas, the Pandavas also blow their conchshells.

 

This is how the Bhagavad-gītā’s narration unfolds, combining both audio and visual elements. The audio-visual focus now shifts to the central characters of the Bhagavad-gītā and the Kurukṣetra war.

 

Thank you.