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.
- 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!