How many marriages did Arjuna have in the Mahabharata?

 Arjuna totally had 5 wives.

Draupadi

Princess of Panchala kingdom and daughter of Drupada. Together they had a son named Srutakriti.

Ulupi

Arjuna was dragged by Ullupi to the bottom of the sea. Ullupi was the daughter of the king of the Nagas. Ullupi also threatened Arjuna that if he doesn’t accept her then she will commit suicide. They spent one night together and in the next morning, Arjuna left. While leaving, Ullupi granted Arjuna a boon making him invincible in water. They had a son named Iravan. Though they did not marry according to vedic formalities, Arjuna regarded her as his wife. After Ashwamedha sacrifice, Ullupi lived in Hastinapur.

[1]

Chitrangada

The King of Manipur,Chitravahana had a beautiful daughter named Chitrangada. Seeing the beauty of Chitrangada, Arjuna asked the king to give his daughter to him. They married and had a son named Babruvahana.

[2]

Subadra

Subadra was the beloved sister of Krishna and last wife of Arjuna. Subadra was extremely beautiful and Arjuna desired to posses her. On the advice of Krishna, Arjuna eloped with her. They married in Dwarka. On completion of 12 years exile, Arjuna took her to Indraprasta.

Unnamed sister of Vasuki

After Khandava daha, Arjuna married the sister of Vasuki. Her name is not mentioned in Mahabharata.

Yudhishthira said, "And what office will be performed by that mighty descendant of the Kurus, Dhananjaya, the son of Kunti, that foremost of men possessed of long arms, invincible in fight, and before whom, while he was staying with Krishna, the divine Agni himself desirous of consuming the forest of Khandava had formerly appeared in the guise of a Brahmana? What office will be performed by that best of warriors, Arjuna, who proceeded to that forest and gratified Agni, vanquishing on a single car and slaying huge Nagas and Rakshasas, and who married the sister of Vasuki himself, the king of the Nagas?

[3]

Image (s) Courtesy: Pinterest

What are some lesser-known feats of Arjuna that prove his prowess in battle?

 In the Arjuna‑vanavasa Parva, there is a tale of celestial apsaras, Varga and her friends, cursed into being crocodiles by a brahmana. Arjuna delivers them from their curse and hence are transformed to their original self,

“Hearing what had happened the Rishi said, 'In the low-lands bordering on the southern ocean, there are five regions of sacred water. They are delightful and eminently holy. Go ye thither without delay. That tiger among men, Dhananjaya, the son of Pandu of pure soul, will soon deliver you, without doubt, from this sad plight.' O hero, hearing the Rishi's words, all of us came hither. O sinless one, true it is that I have today been delivered by thee. But those four friends of mine are still within the other waters here. O hero, do a good deed by delivering them also.'

"Vaisampayana continued, 'Then, O monarch, that foremost of the Pandavas, endued with great prowess, cheerfully delivered all of them from that curse. Rising from the waters they all regained their own forms. Those Apsaras then, O king, all looked as before. Freeing those sacred waters (from the danger for which they had been notorious), and giving the Apsaras leave to go where they chose”,

SECTION CCXIX Arjuna-vanavasa Parva K M Ganguli’s Mahabharat

Slaughter of Gandharvas

In Vana Parva, there is an episode where Arjuna fights the Gandharvas, celestial beings, in battle and uses several astra (celestial weapons) to great effect. He traps them in arrows, cuts off their weapons, and uses powerful divine astras to check their attack and then counterattacks.

“Then Arjuna of the Kuru race shot his well-known weapons called Sthunakarna, Indrajala, Saura, Agneya and Saumya. And the Gandharvas consumed by the fiery weapons of Kunti's son, began to suffer heavily, like the sons of Diti, while being scorched by Sakra's thunder-bolt. And when they attacked Arjuna from above, they were checked by his net of arrows. And while they attacked him from all sides on the surface of the earth, they were checked by his crescent-shaped arrows. And beholding the Gandharvas put in fear by Kunti's son, Chitrasena rushed, O Bharata, at Dhananjaya, armed with a mace. And as the king of the Gandharvas was rushing at Arjuna from above with that mace in hand, the latter cut with his arrows that mace wholly made of iron into seven pieces. And beholding that mace of his cut into many pieces by Arjuna of great activity, with his arrows, Chitrasena, by means of his science, concealed himself from the view of the Pandava and began to fight with him.”

SECTION CCXLIII Vana Parva K M Ganguli’s Mahabharat

Another one less remarked upon is during the Swayamvara of Draupadi. Arjuna fights Karna. Their duel is notable for how fiercely they match each other, and how Arjuna’s strength of arms, energy, and stamina are praised even by Karna.

“Then the illustrious Arjuna beholding Karna, the son of Vikartana (Surya), advancing towards him, drew his tough bow and pieced him with his sharp arrows. And the impetus of those whetted arrows furnished with fierce energy made Radheya (Karna) faint. Recovering consciousness Karna attacked Arjuna with greater care than before. Then Karna and Arjuna, both foremost of victorious warriors, desirous of vanquishing each other, fought madly on. And such was the lightness of hand they both displayed that (each enveloped by the other's shower of arrows) they both became invisible (unto the spectators of their encounter). 'Behold the strength of my arms.'--'Mark, how I have counteracted that feat,'--those were the words--intelligible to heroes alone--in which they addressed each other. And incensed at finding the strength and energy of Arjuna's arms unequalled on the earth, Karna, the son of Surya, fought with greater vigour. And parrying all those impetuous arrows shot at him by Arjuna, Karna sent up a loud shout. And this feat of his was applauded by all the warriors. Then addressing his antagonist, Karna said, 'O thou foremost of Brahmanas, I am gratified to observe the energy of thy arms that knoweth no relaxation in battle and thy weapons themselves fit for achieving victory. Art thou the embodiment of the science of weapons, or art thou Rama that best of Brahmanas, or Indra himself, or Indra's younger brother Vishnu called also Achyuta, who for disguising himself hath assumed the form of a Brahmana and mustering such energy of arms fighteth with me? No other person except the husband himself of Sachi or Kiriti, the son of Pandu, is capable of fighting with me when I am angry on the field of battle.' Then hearing those words of his, Phalguna replied, saying, 'O Karna, I am neither the science of arms (personified), nor Rama endued with superhuman powers. I am only a Brahmana who is the foremost of all warriors and all wielders of weapons. By the grace of my preceptor I have become accomplished in the Brahma and the Paurandara weapons. I am here to vanquish thee in battle. Therefore, O hero, wait a little.'

"Vaisampayana continued, 'Thus addressed (by Arjuna), Karna the adopted son of Radha desisted from the fight, for that mighty chariot-fighter thought that Brahma energy is ever invincible.”

SECTION CLXLII Swayamvara Parva K M Ganguli’s mahabharat

Indra tells Arjuna that he had acquired invincible prowess. He challenges him to slay the Nivatakavachas, the demons who lived in the womb of the ocean. That would be his guru dakshina,

“Nothing is there in the three worlds that is not in your power (to achieve) My enemies, those Danavas, named, Nivata-Kavacas dwell in the womb of the ocean. And they number thirty million and are notorious, and all of equal forms and strength and splendour. Do you slay them there, O Kuntis son; and that will be your preceptor’s fee.”

Section CLXVII : Tirtha-yatra Parva K M Ganguli’s Mahabharat

Arjun not only annihilates the invincible demons but also destroys their city,

“Thereupon, O Bharata, in this matter the Lord commanded (Indra), saying, 'O slayer of foes, in another body, even thou shalt be (the destroyer of the Danavas).' Then, in order to slaughter them, Sakra rendered unto thee those weapons. The gods had been unable to slay these, who have been slain by thee. O Bharata, in the fullness of time, hadst thou come hither, in order to destroy them and thou hast done so. O foremost of men, with the object that the demons might be killed, Mahendra had conferred on thee the excellent prime energy of these weapons.'

"Arjuna continued, 'After having destroyed the Danavas, and also subdued that city, with Matali I again went to that abode of the celestials.'"

SECTION CLXXI Tirtha-yatra Parva K M Ganguli’s Mahabharat

In the Karna Parva, Arjuna slays younger brother of Sudakshina of the Kamboja tribe,

“Repairing to that further wing which was protected by the Kambojas, Partha began to grind it forcibly with his arrows like Vasava grinding the Danavas. With broad-headed arrows he began to quickly cut off the arms, with weapons in grasp, and also the heads of foes longing to slay him. Deprived of diverse limbs, and of weapons, they began to fall down on the Earth, like trees of many boughs broken by a hurricane. While he was engaged in thus slaughtering elephants and steeds and car-warriors and foot-soldiers, the younger brother of Sudakshina (the chief of the Kambojas) began to pour showers of arrows on him. With a couple of crescent-shaped arrows, Arjuna cut off the two arms, looking like spiked maces, of his striking assailant, and then his head graced with a face as beautiful as the full moon, with a razor-headed arrow. Deprived of life, he fell down from his vehicle, his body bathed in blood, like the thunder-riven summit of a mountain of red arsenic. Indeed, people saw the tall and exceedingly handsome younger brother of Sudakshina, the chief of the Kambojas, of eyes resembling lotus petals, slain and fall down like a column of gold or like a summit of the golden Sumeru. Then commenced a battle there once more that was fierce and exceedingly wonderful. The condition of the struggling combatants varied repeatedly. Each slain with a single arrow, and combatants of the Kamboja, the Yavana, and the Saka races, fell down bathed in blood, upon which the whole field of battle became one expanse of red, O monarch”.

Section 56 Karna Parva K M Ganguli’s Mahabharat

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While in exile, Arjuna and Kirata (a disguised Lord Shiva) combat. Totally in awe of the Pandav’s skill, Lord Shiva bestows the Pashupata weapon on him.

Was the Mahabharata warrior Karna's Vijaya bow superior to the Arjuna's Gandiva bow?

 Rather than comparing statments. Let’s directly adress their feats.

On the 17th day. Karna and Arjuna both fought the toughest battle of their lives and guess what?

Only one of the bows snapped! It was Gandiva. Not the Vijaya bow.

Pandava’s bowstring was being drawn with great force and snapped, with a loud noise. At that moment, the son of a suta struck Partha with one hundred kshudraka arrows. He pierced Vasudeva with sixty sharp iron arrows that were washed in oil and were tufted with the feathers of birds. They were like snakes that had cast off their skins.

At this, the Somakas ran away. Partha became extremely angry. His body was mangled by Karna’s arrows.

Source: Karna Parva Mahabharata critical edition.

Karna also cut off several strings of Gandiva. Arjuna however never ever managed to do the same.

O Partha! Radheya is destroying your arrows. Release supreme weapons.’ Using mantras, Arjuna released brahmastra. With those radiant arrows, Arjuna shrouded Karna. But Karna used extremely energetic arrows to angrily sever his bowstring. Fixing another bowstring, Pandava enveloped Karna with thousands of fiery arrows.

In that battle, when Karna severed his bowstring, he fixed another one so quickly that no one could make this out. It was wonderful. Using his weapons, Radheya countered all of Savyasachi’s weapons. At that time, his valour seemed to be greater than that of Partha.

Now some Arjuna bhakts have lined up to claim that Karna lost against Bhima with the Vijaya bow.

First if that’s the case, then Arjuna was also struck unconscious by Susharma. Arjuna was defeated when he held the Gandiva.

Having used his own shower of great weapons to sever the shower of arrows, Vasava’s son, the destroyer of enemy heroes, remained stationed on his chariot in the field of battle. O King! Susharma used arrows with drooping tufts to pierce Arjuna in the chest and pierced Arjuna in the chest and pierced him again with three other arrows. Having been severely wounded and pained, he sank down on the floor of his chariot. When he regained his senses, the one with the white horses, immeasurable in his soul and with Sri Krishna as his charioteer, quickly invoked the Aindra weapon.

Karna Parva: Chapter 1187(37)

Arjuna and several other Maharathas attacked Dronacharya and were defeated on the 11th day of the Kurukshetra war.

.Arjuna and Parshata, with their followers, surrounded him, together with all the maharathas—the Kekayas, Bhimasena, Subhadra’s son, Ghatotkacha, Yudhishthira, the twins, Matsya, Drupada’s son, Droupadi’s cheerful sons, Dhrishtaketu, Satyaki, the enraged Chekitana and maharatha Yuyutsu. O king! There were many other kings who followed the Pandavas. In accordance with their lineage and their valour, they performed many deeds. On seeing that the army of the Pandavas was thus protected in battle, Bharadvaja’s son glanced at them, with anger in his eyes. He was stationed on his chariot, invincible in battle, and was overcome by terrible rage. He pierced the Pandava army, like the wind scattering clouds. He attacked the chariots, horses, men and elephants in every direction. Though he was old, Drona roamed around, like a mad young man. His horses were crimson in colour and were as fleet as the wind. They were covered in blood. O king! Those horses thus assumed a beautiful appearance. On seeing that angry one, rigid in his vows, descend like death, the Pandava warriors fled in every direction. Some fled in fright.

Drona Parva Mahabharata critical edition.

Both warriors were defeated with supreme bows. So that point simply doesn’t matter

Yes! Gandiva has more statments on it’s side. But by feats Arjuna has also faced more defeats with Gandiva. Karna only used the Vijaya once and perfomed better than the wielder of Gandiva on the 17th day.

But either way the bow doesn’t really define the warrior as much. Karna performed well because he prepared himself well which allowed him to baffle of Arjuna’s weapons and afflict him.

All my points are from Vyasa’s Mahabharata.

How many wives did Arjun have?

 Draupadi (1st Wife)

While in hiding, the Pandavas reached Panchala Kingdom it was then Arjuna & Draupadi’s marriage happened. Draupadi was the princess of Panchala and the youngest daughter of King Drupada who was born from the Yajna Agni (Sacrificial Fire). It was said that Drupada wanted her daughter only to be married to the 3rd Pandava - Arjuna. So he had kept the hardest challenge in her Svayamvara so that the most talented archer (which was indeed Arjuna at that time) can only win. In her Svayamvara, Arjuna won her and later she became the common wife of the Pandavas as per Kunti’s order. Arjuna & Draupadi’s love story is a topic of debate in the whole Mahabharata. Some says Arjuna loved Subhadra most, some says Bhima loved Draupadi most. But if one follows the original Vyasa Mahabharata he / she will definitely understand that it was Arjuna and Draupadi who loved each other the most. Vyasa didn’t mention directly but it is the story and small accounts that prove their extreme love for each other.

Uloopi (2nd Wife)

In his 12 years of exile after marriage to Draupadi, when he went to a place (said to be now Haridwar), he met Uloopi - a widow and childless Naga Princess who hailed from the underwater kingdom of serpents in Ganga River. She saw him bathing and became infatuated with him. She kind of kidnapped him and took him to her place. She desired to get intimate with him. Arjuna rejected initially because of his vow of celibacy. It is also said that she told Arjuna that if he doesn’t accepts her she will commit suicide. Later Arjuna agreed and in future they both had a son called Iravan. Many consider it as an “affair” but scholars state their union is legitimized through what is traditionally identified as a Gandharva Marriage - a private, mutual agreement without formal rituals.

Chitrangada (3rd Wife)

After leaving Uloopi’s place Arjuna travelled towards the kingdom of Manipura (not the Indian State of now) and there he met Chitrangada - the princess of Manipura (there isn’t much story on how Arjuna met Chitrangada). They married on a condition that - Chitrangada’s son will be the future ruler of Manipura as the king had not any son. Arjuna stayed there for 3 years and after they got a son named - Babruvahana, Arjuna left the place and started his journey again.

Subhadra (4th Wife)

There are different kind of stories about Subhadra’s marriage to Arjuna. After leaving Manipura, Arjuna came to Prabhasa. When Krishna came to know about this he met him and invited him to Dwarka. Arjuna comes there and meets Subhadra. Some versions say that Arjuna was attracted towards her seeing her beauty and abducted her, some says that it was a mutual decision of both of them where Krishna helped. But ultimately after that they get married in a grand ceremony and Arjuna spends his remaining pilgrimage years in Dwarka. Later he took her with him in Indraprastha.

The Celestial Weapons Arjuna Learned in Heaven and Their Powers: A Detailed Analysis

Introduction

Arjuna, the third Pandava and one of the greatest warriors in the Mahabharata, was not only a master of earthly weaponry but also learned to wield celestial weapons (Divyastras). During his visit to Indra’s heavenly realm, he received powerful astras (divine missiles) that played a crucial role in the Kurukshetra War. This analysis explores these celestial weapons, their origins, powers, and significance.

Arjuna’s Journey to Heaven

After proving his prowess on Earth, Arjuna was taken to Indraloka (the abode of the king of gods, Indra) to train under celestial beings. There, he learned the use of divine weapons from Indra, the Ashvins, and other gods.

Major Celestial Weapons and Their Powers

1. Pashupatastra

• Source: Lord Shiva
• Power: Considered the most destructive weapon in existence, capable of annihilating entire worlds.
• Usage: Could only be used against powerful divine enemies; not to be used against ordinary mortals.
• Significance: Arjuna was granted this weapon by Shiva after proving his devotion and martial skill through penance.

2. Vajra (Thunderbolt of Indra)

• Source: Indra, the king of gods
• Power: Could destroy any target instantly, capable of cutting through anything.
• Usage: Primarily used against demons (asuras) and powerful warriors.
• Significance: Indra, Arjuna’s divine father, gifted this weapon to him, symbolizing his divine heritage.

3. Brahmastra

• Source: Lord Brahma
• Power: An immensely powerful weapon that could annihilate large portions of land and armies.
• Usage: Needed great knowledge to use and could not be withdrawn once invoked.
• Significance: Arjuna possessed the knowledge to use it but refrained due to its devastating effects.

4. Brahmashirsha Astra

• Source: Lord Brahma
• Power: Four times stronger than Brahmastra, capable of reducing the entire world to ashes.
• Usage: Used only against opponents wielding equally powerful weapons.
• Significance: Arjuna learned to invoke and withdraw this weapon, unlike Ashwatthama, who misused it.

5. Narayanastra

• Source: Lord Vishnu
• Power: Released a storm of arrows, fire, and divine energy upon enemies.
• Usage: Could not be countered, but it would stop if the enemy surrendered.
• Significance: Arjuna learned about this weapon but did not use it in battle.

6. Varunastra

• Source: Varuna, the god of water
• Power: Created massive floods, extinguishing fire and opposing weapons.
• Usage: Effective against enemies wielding Agneyastra (fire weapons).
• Significance: Used to counteract destructive fire-based attacks.

7. Agneyastra

• Source: Agni, the god of fire
• Power: Unleashed a firestorm capable of incinerating armies.
• Usage: Best used against ice and water-based weapons.
• Significance: Used tactically in battles to overpower enemies.

8. Vayavyastra

• Source: Vayu, the god of wind
• Power: Created devastating cyclones and wind storms.
• Usage: Effective against aerial and heavily armored enemies.
• Significance: Could disrupt formations and battlefield strategies.

9. Twashtastra

• Source: Twashta, the celestial architect
• Power: Created weapons or destroyed enemy weapons.
• Usage: Used for precision strikes and disabling enemy defenses.
• Significance: Highlighted Arjuna’s versatility in warfare.

Conclusion

The celestial weapons Arjuna learned in heaven granted him unparalleled power, but his wisdom in their usage was equally important. These divine gifts played a crucial role in his victories while emphasizing the responsibility that comes with immense power. Arjuna’s mastery of these astras symbolized his divine favor and his rightful claim to uphold dharma in the great war of Kurukshetra.

Why was Arjuna captured and dragged by the woman Ulupi along the ground in Mahabharata?

 Yudhisthira decided to institute a code of conduct after all the brothers marry the princess of Panchala, lest she, became the cause of family’s dissemination. It was decided, when Draupadi was with one of the brothers in her chamber, others would not enter or even caste a covetous look on her. In case of any transgression it would result in banishment for a period of twelve years.

Once some thieves stole a brahmin’s cow. On listening to his plight, Arjun in haste rushed to Draupadi’s chamber to fetch his arms. She was with Yudhisthira.

The duty of a warrior is to help people in distress. Accordingly Arjun had not transgressed any law or rule by storming in Draupadi’s chamber. But a predetermined law had been violated.

Arjun after full consecration rites, left for the forest, to live the life of a celibate for twelve years.

ARJUN MARRIES ULIPI

He spent the days hunting, practising his weapons, offering oblations to deceased ancestors and sporting in Ganges water. During one such moment, he had a close encounters with Ulupi, daughter of a Naga king Kouravya. Ulipi was smitten. She was aware that Arjuna was under vow of celibacy. But the woman was head over heels in love with the handsome warrior. If her love was not reciprocated, she was sure to take her life and die. The thought made Arjuna shudder. He agreed to unite with her lest be burdened by someone’s death. This would taint his soul and would be against Dharma. Arjun spent time with Ulupi in her father’s palace. Finally he took leave.

picture from wikipedia

Why does Krishna like Arjuna so much?

 I could not think of characters in Mahabharata who didn’t favor Arjuna (except Kauravas and Karna).

The Krishna-Arjuna friendship in its very essence is one of joy. Sri Krishna values Arjuna’s friendship more than anything else in the world. Even his opponents corroborate this. In Section LXV of Udyoga Parva, Dhritarashtra says,

‘As regards Krishna, his wives, kinsmen, relatives, his own soul and the whole earth, put on one scale, weigheth with Dhananjaya on the other.’ We find it also in Karna’s sppech to Bhisma at the end of the Bhisma Parva.

What was the glue that kept the two eternally together? Leaving aside the Nara-Narayana , my answer to this is that it is their common artistic taste. Philosophy, spiritual quest, idealism, vision, mission, Kshatra Dharma – all are other important reasons of their immortal friendship.

Let us now see some rare moments as depicted in the Mahabharata, moments which we often fail to notice, or even if we notice, we fail to grasp their significance.

1. Both were fond of travelling:

In Section CCXXIV of Adi Parva (Khandava-daha Parva) Arjuna expresses his desire to go to the banks of the Yamuna to sport during the summer days. Krishna promptly agrees,

'O son of Kunti, this is also my wish. Let us, O Partha, sport in the waters as we please, in the company of friends.'

They take Yudhishthira's leave and set out surrounded by friends. They reach a fine spot on the banks of the Yamuna suitable for purposes of pleasure, overgrown with numerous tall trees. Everybody begins to sport, according to his or her pleasure.

‘The women of the party, all of full rotund hips and deep bosoms and handsome eyes, and gait unsteady with wine began to sport there at the command of Krishna and Partha. Some amongst the women sported as they liked in the woods, some in the waters, and some within the mansions, as directed by Partha and Govinda.’

Draupadi and Subhadra are with them. They begin to ‘give away unto the women so sporting, their costly robes and ornaments. And some amongst those women began to dance in joy, and some began to sing; and some amongst them began to laugh and jest, and some to drink excellent wines. Some began to obstruct one another's progress and some to fight with one another, and to discourse with one another in private. Those mansions and the woods, filled with the charming music of flutes and guitars and kettledrums, became the scene of Prosperity personified.’

It is one great aspect of the Hindu philosophy that control of senses is recommended, but shunning of the senses is never suggested. Krishna alerts Arjuna in the Gita never to be attached to the senses, but he never says anything against the use of senses. The Upanishad also says, ‘Tena Tyaktena Bhunjithha.’ Indeed, our life is impossible without senses. From Krishna’s life we learn how to go beyond them.

In the same scene of the Mahabharata we find Krishna-Arjuna going to a certain charming spot in those woods not far from the place where the others were, leaving all others behind. It is as if the two Krishnas want a secluded space for themselves beyond the din of their companions and consorts. Happily sitting there, Krishna-Arjuna ‘amuse themselves…discoursing upon many past achievements of prowess and other topics’.

This is a picture of a typical adda or gossip. The two cousins have shaken of their royal tags and assumed masks of the societal world. The extraordinariness of the picture is in the commonality and familiarity of the two great heroes. Only a unique Vyasa can portray thus!

2) Love for nature:

Vyasa brings out another aspect of Krishna-Arjuna’s character - their love of solitude and love of nature. It is inherent in their nature, and it is also there in ‘nurture’ - Krishna’s pastoral background and Arjuna’s infantial upbringing in the lap of nature. Pandu was also a great lover of nature. Arjuna inherits not only Pandu’s archery talents but also his love of nature.

Arjuna is the sort of character who is never to be bound in house-hold chores. He is the sort who is ever on the move. He is always after gaining new experiences. Exploration is his nature. There is enough reason to believe that his individual Banabas is much an act of his own will. Another cheerful scene involving Krishna-Arjuna can be found (Section CCXX of Adi Parva), after Arjuna reaches Dwarka towards the end of his individual Banabas. Krishna and Arjuna meet together and embracing each other enquire after each other's welfare. Krishna asks Arjuna about his travels,

'Why, O Pandava art thou wandering over the earth, beholding all the sacred waters and other holy places?'

Then Arjuna tells him everything that has happened. Hearing everything, Krishna remarks, 'This is as it should be.' We get here a Krishna who is ever positive towards all varieties of human experience, and particularly traveling.

Krishna and Arjuna sport as they like, for some time at Prabhasa, and then go to the Raivataka Mountain to pass some days there. Before they arrive at Raivataka, Krishna commands that mountain resort be well-adorned by many artificers and variety of food be stocked. Arjuna enjoys everything that has been collected there for him. Then the two Krishnas enjoy performances of actors and dancers.

3) Both Krishnas were lover of art and music:

Arjuna is a great lover of art and music. Otherwise he could not have lived during the Ajnatabasa in king Virata’s Matsya kingdom as a teacher of music and dance hoodwinking Duryodhana’s spies. That no woman ever suspects him proves his excellence in matters of music, songs and dance. It is unfortunate for us that the focus of the Mahabharata shifts so much towards a mere eighteen days war, that this artistic side of his character has never been explored.

Krishna and Arjuna spend the night together in Raivataka.

‘Then the high-souled Pandava, dismissing them all with proper respect, laid himself down on a well-adorned and excellent bed. As the strong-armed one lay on that excellent bed, he described unto Krishna everything about the sacred waters, the lakes and the mountains, the rivers and the forests he had seen.’

Here again we see the duo in typical ‘Adda’ mood. Krishna’s curiosity about Arjuna’s travelogues shows how much he cherishes traveling. And what comes to the fore yet again is Arjuna’s ‘wander-lust’, his desire to ‘drink life to the lees.’

It is music and music everywhere.

‘Arjuna rises in the morning, awakened, by sweet songs and melodious notes of the Vina (guitar) and the panegyrics and benedictions of the bards.’

During his ‘Banabas within Banabas’ of five years, Arjuna goes to heaven and learns music and dancing from Chitrasena. He also learns the instrumental music that is ‘current among the celestials and which existeth not in the world of men’. Indra introduces Arjuna to Chitrasena and the two become friends. Arjuna lives happily in peace with Chitrasena. On his instruction Arjuna learns to sing and play instruments and also dancing. We wonder, how Arjuna’s powerful arms that could dart arrows incessantly, could become supple while dancing!

The interesting message of Mahabharata we find here is that friends are the best Gurus. Krishna is Arjuna’s spiritual Guru, and Chitrasena of arts. Vyasa, perhaps, wants to show us that learning through mutual friendship is the best form of learning.

4) Happy going nature of two Krishnas:

In Section XXIV of Virata Parva Bhima saves Draupadi from the Upa-Kichakas, following Kichaka’s death. While returning to the palace Draupadi beholds Arjuna, in the dancing-hall instructing king Virata's daughters in dancing. When Arjujna as Virhannala asks her,

'How hast thou, O Sairindhri, been delivered? And how have those sinful wretches been slain? I wish to learn all this from thee exactly as it occurred.' Draupadi replies, 'O blessed Vrihannala, always passing thy days happily in the apartments of the girls, what concern hast thou with Sairindhri's fate to say? Thou hast no grief to bear that Sairindhri hath to bear! It is for this, that thou askest me thus, distressed as I am in ridicule.'

Again what is revealed despite Draupadi’s sarcastic comments is that Arjuna has the rare ability to be happy in any circumstances and in any role, even if it is the role of a neutar gender. Arjuna like Krishna is never concerned of the past or future. He exists in the ‘now’.

5) Loved to converse with each other:

We find another Krishna-Arjuna intimate scene in Sanjay’s narrative in Section LIX ofUdyoga Parva.

‘Attired in excellent robes and adorned with celestial ornaments, they (Krishna-Arjuna) sat on a golden dais, decked with numerous gems, and covered over with carpets of diverse texture and hue. And I beheld Kesava's feet resting upon Arjuna's lap while those of the high-souled Arjuna rested upon the laps of Krishna and Satyabhama.’

This scene brings out a very strange relational dimension. All are in relaxed mood though a battle is knocking at the door. Krishna and Draupadi’s ‘Sakha-Sakhi’ relationship is a much discussed one. But what we find here is an Arjuna-Satyabhama ‘Sakha-Sakhi’ relationship! It is our misfortune that this side of the story depicting their intimate life has been completely sidelined by epical compulsions!

Just after the war is over with the fall of Duryodhana (Section LII ofAswamedha Parva) Krishna-Arjuna goes to Hastinapur. Daruka is ordered to prepare the chariot. Then those two, viz., Krishna and the son of Pandu, ascended their car and proceeded on the journey, the loving friends engaged the while in delightful conversation.’

In Hastinapur, after formalities of meeting with Dhritarashtra are over, Krishna-Arjuna taking Dhritarashtra’s permission retire to their respective apartments.

‘Krishna of great energy proceeded to the apartments of Dhananjaya. Worshipped duly and furnished with every object of comfort and enjoyment, Krishna of great intelligence passed the night in happy sleep with Dhananjaya as his companion.’

A war has just ended. The Panchalas have been completely destroyed. All sons of Draupadi are dead. Yet the duo could be engaged in delightful conversation! It might be because war is a regular part of their life, but perhaps, it is more because Krishna’s presence and company can make one forget the common sorrows of life. The episode also speaks volumes on their character. Their basic philosophy is that a life is a unique opportunity which is to be lived to its full in joy. This joyous spirit is their Karma-shakti, the stimulant, the Soma-rasa in their nature. Only fools search for stimulants outside. The duo knows its presence in them.

After the Utanka-episode (Section LIX of Aswamedha Parva) as Krishna nears Raivataka with Satyaki, he sees the high mountain, ‘decked with excellent garlands of gold and gay festoons of flowers, with many large trees that looked like the Kalpa trees of Indra's garden, and with many golden poles on which were lighted lamps, shone in beauty through day and night. By the caves and fountains the light was so great that it seemed to be broad day. On all sides beautiful flags waved on the air with little bells that jingled continuously.’

Krishna enjoys the beauty of the Raivataka hill for sometime. After the Kuru-war ends there is no remnant of images of that war in Krishna’s mind. He is indeed the embodiment of his own wisdom – the Gita. He lives life to the full every moment. These apparently small incidents in the life of Krishna are in fact the repository of eternal lessons! Love comes from joy. Ananda is the basic essence of human nature, because God himself is Sat-Chit-Ananda!