DOCSLIB.ORG

Duryodhana Ii Duryodhana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Duryodhana Ii Duryodhana II DURYODHANA 263 DUSSASANA I Other 16) information. DUSSALA. The only daughter of Dhrtarastra by Gan- (1) Duryodhana was one of the eleven maharathas on dhari. the Kaurava others side, being Yuyutsu, Dussasana, (1) She was married to Jayadratha the Raja of Sindhu. Dussaha, Durmesana, Vikaina, Citrasena, Jaya, Kuru- (2) Her birth. See under Kauravas. Kama and mitra, Satyavrata (all of them, sons of (3) Yudhisthira did not permit Jayadratha to be killed . Adi Dhrtarastra) (M.B. Parva, Chapter 63, Verse 18) . when he abducted Pancali as he was the husband of With the of he (2) help Kama abducted the daughter Dussala. (Vana Parva, Chapter 271, Verse 43). of the of Kasl. King (Santi Parva, Chapter, 4, Verse 13) . (4) When Arjuna reached Vidarbha attending the After his death his (3) splendid palace was occupied Asvamedha yajna the archers obstructed his progress, Bhlma. by (Sand Parva, Chapter 44, Verse 6) . and he killed them all. Suratha, son of Dussala, was his (4) Vyasa brought by esoteric powers to the surface also among those killed, and she came to the battlefield of the the souls of the Gariga heroes who were killed in with her infant child crying, whereupon Arjuna stopped the battle. Amongst them was the soul of Duryodhana the fighting and in remorse crowned the son of Suratha also. (Asramavasika Parva, Chapter 32, Verse 9) . as the King of Sindhu. (Asvamedha Parva, Chapters 78 Yudhisthira saw after (5) Duryodhana, his death, living and 89) . in heaven, resplendent as Surya in the company of DUSSASANA I. A son ofDhrtarastra. devatas. holy (Svargarohana Parva, Chapter 1, Verse 4) . 1) His birth. See under Kauravas. 17) Synonyms of Duryodhana. Ajamldha, Bharata, Bha- 2) Other information. (1) He, along with his brothers, ratasardula, Bharatasrestha, Bharatagrya, Bharatarsabha, was present at the svayamvara of Pancali. (Adi Parva, Bharatasattama, Dhartarastra, Dhrtarastraja, Gandha- Chapter 185, Verse 1). riputra, Kaurava, Kauravanandana, Kauravendra, (3) He kept store and served food to the guests at the Kauravya, Kauraveya, Kurukuladhama, Kurumukhya, Rajasuya of Yudhisthira. (Sabha Parva, Chapter 35 Kurunandana, Kurupati, Kurupravlra, Kurupurigava, Verse 5) . Kurusattama, Kururaja, Kurusirhha, Kuruttama, Suyo- (3) He dragged Panca.li and stripped her of her clothes dhana. in the assembly hall of the Kauravas. (For details see DURYODHANA II. The Mahabharata refers to another under Pancali) . Gandharvas took in Duryodhana, grandson of Suvira, and son ofDurjaya. (4) him captive Dvaitavana. Anus asana under . ( Parva, Chapter 2, Verse 18). A daughter (See Kauravas) called Sudarsana was born to him by his wife Narmada. (5) The Pandavas released the Kauravas from cap- and laden with this Duryodhana married Sudarsana to Agnideva. tivity, Duryodhana humiliation did not desire to return to Hastinapura. He asked DUSANA. A Raksasa. Dusana, who came along with to and rule Khara to killed Dussasana assume kingship the subjects fight, was by Sri Rama. (See Khara) . well. Dussasana rejected the offer and This DUSKARNA. One of the hundred sons of Dhrtarastra. wept. was a good trait in the vicious character of Dussasana He was defeated in fighting in the great war by Sata- like lightning in the midst of dark and thick clouds. nlka. (Drona Parva, Chapter 155). (Vana Parva, Chapter 249). DUSPANYA. Last son of a merchant in Pataliputra. 3) Dussasana in the great war. (1) During the first Short-tempered and haughty, this Duspanya killed many of the war he a duel with Nakula. day fought ( Bhlsma children. The outlawed him. He went into the King Parva, Chapter 45, Verse 22) . forest where he drowned the child of maharsi Ugrasravas (2) He got defeated in the duel with Arjuna. (Bhlsma The maharsi cursed him that he also should end his life Parva, Chapter 110, Verse 23). and his soul roam about in by drowning unsupportable (3) He promised Duryodhana that he would kill Abhi- distress. The curse came true. After about for roaming manyu. Drona Parva, Chapter 89, Verse 24) . years he and for many approached Agastya prayed (4) Abhimanyu rendered him unconscious with his redemption from the curse. The directed his dis- sage arrows. (Drona Parva, Chapter 40, Verse 13) . ciple, Sutiksna to get water from in holy Agnitirtha (5) He got defeated by Arjuna and ran away from Mount Gandhamadana and it on the sinful sprinkle the battlefield. (Drona Parva, Chapter 10) . soul of Sutiksna did as he was asked the Duspanya. by (6) He fought with Satyaki. (Drona Parva, Chapter and the soul of attained salvation. guru, Duspanya 96, Verse 14). (Setumahatmyam) (7) He got defeated by 8atyaki and ran off. (Drona DUSPARAJAYA (DURJAYA) . One of the hundred sons Parva, Chapter 121, Verse 29). of Dhrtarastra. the On occasion of Duryodhana's jour- (8) He defeated Prativindhya. (Drona Parva, Chapter ney to Dvaitavana Dusparajaya was taken captive by 168, Verse 43). the Gandharvas. In the war with the Gandharvas he (9) Sahadeva defeated him in fighting. (Drona Parva clashed with Nila. (Drona Parva, Chapter 25) . He was Chapter 188, Verse 5). killed by Bhlma. (Salya Parva, Chapter 26) . (10) He fought with Dhrstadyumna and got defeated. DUSPRADHARSANA. (DUSPRAHARSA) . One of the (Drona Parva, Chapter 189, Verse 5) . hundred sons of Dhrtarastra. Bhlma killed him in fight- (11) On the death of Drona he ran away from the . battle-field. ing. (Salya Parva, Chapter 26) (Drona Parva, Chapter 193, Verse 15) . DUSSAHA. A son of Dhrtarastra. He was wounded by (12) Sahadeva defeated him. (Kama Parva, Chapter the arrows of Satyaki and killed by B*hirna. (Drona 23, Verse 18). Parva, Chapter 135). (13) Dussasana put Dhrstadyumna in prison. (Kama DUSSALA. One of the hundred sons of Dhrtarastra who Parva, Chapter 61. Verse 33) . was killed in war by BhTma. (Drona Parva, Chapter (14) He fought with Bhlma. (Kama Parva, Chanter 129, Verse 39). 82)..
Load more

Recommended publications
  • Download (6MB)
    Arya, Anwesha (2012) Dowry in tradition and text: śāstra, statute and the 'living law' of dowry as sadācāra in India. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/16639 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Dowry in tradition and text: Śāstra, statute and the ‘living law’ of dowry as sadācāra in India By Anwesha Arya PhD submission Department of the Study of Religions School of Oriental and African Studies, University of London September 23rd 2012 1 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
    [Show full text]
  • Strength for Today and Bright Hope for Tomorrow Volume 11: 11
    LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 11 : 11 November 2011 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. Women in Mahabharata: Fighting Patriarchy Maneeta Kahlon, Ph.D. ======================================================== Vyasa’s Portrayal of Women Vyasa casts his women—Kunti, Draupadi, Gandhari, Shakuntala, Devayani, Savitri, Damayanti— both in the heroic mould and as victims and practitioners of elements of patriarchy The image of women in the original stratum of the epic is that which is etched out in the words of Shakuntala, as she upbraids Dushyanta for fickleness, contesting patriarchy and traditions of gender relations. ―A wife is a man‘s half, A wife is a man‘s closest friend; A wife is Dharma, Artha and Karna, A wife is Moksha too . A sweet-speaking wife is a companion in happy times; A wife is like a father on religious occasions; A wife is like a mother in illness and sorrow. The wife is a means to man‘s salvation . Happiness, joy, virtue, everything depends on her.‖ Citation Study of Male Authority and Subordination This paper is a study of the three central characters of Mahabharata and how they deal with male authority and subordination. The characters of Kunti, Gandhari, Draupadi conform to the elements of Stridharma while also manifesting exigent actions. Language in India www.languageinindia.com 11 : 11 November 2011 Maneeta Kahlon, Ph.D.
    [Show full text]
  • South-Indian Images of Gods and Goddesses
    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.
    [Show full text]
  • Literary Herald ISSN: 2454-3365 an International Refereed/Peer-Reviewed English E-Journal Impact Factor: 4.727 (SJIF)
    www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed/Peer-reviewed English e-Journal Impact Factor: 4.727 (SJIF) Draupadi’s Resistance in Saoli Mitra’s Nathabati Anathabat Suryakant Yadav Research Scholar Department of English and Modern European Languages University of Lucknow, Lucknow Abstract: This paper deals with the character of Draupadi depicted in the modern retellings of The Mahabharata. Draupadi, like the great Indian epics, is a pan-Indian phenomenon that has been portrayed in a number of Indian texts, be it poem, prose or drama. There have been many women who have come out as powerful characters in Hindu mythology and women writers such as Saoli Mitra bring out the discourse of such personalities. The status of woman in myth making is very significant, and Draupadi stands as the embodiment of woman empowerment as she elevates herself above the male dominated social order. Saoli Mitra represents Draupadi as the image of retaliation and exemplifies her agonies, her subjugation and ultimately her liberation from the clutches of patriarchy. Keywords: myth; retaliation; upliftment; stereotypes; power; protest. The Mahabharata is a veritable treasure house of Indian philosophy, religion and culture and has rightly been considered the „fifth veda‟. A graphic tale of men and women, some with divine attributes, dwelling on all convincible situations in life, this epic is a whole literature in itself, ageless and everlasting. Irawati Karve writes that the scope of The Mahabharata “is wide ranging in time, in space and in its cast of characters. Heroes and cowards, villains and good men, impulsive fools and wise men, ugly men and fair ones are all depicted in the course of its narrative.
    [Show full text]
  • The Mahabharata
    VivekaVani - Voice of Vivekananda THE MAHABHARATA (Delivered by Swami Vivekananda at the Shakespeare Club, Pasadena, California, February 1, 1900) ​ ​ ​ ​ The other epic about which I am going to speak to you this evening, is called the Mahâbhârata. It contains the story of a race descended from King Bharata, who was the son of Dushyanta and Shakuntalâ. Mahâ means great, and Bhârata means the descendants of Bharata, from whom India has derived its name, Bhârata. Mahabharata means Great India, or the story of the great descendants of Bharata. The scene of this epic is the ancient kingdom of the Kurus, and the story is based on the great war which took place between the Kurus and the Panchâlas. So the region of the quarrel is not very big. This epic is the most popular one in India; and it exercises the same authority in India as Homer's poems did over the Greeks. As ages went on, more and more matter was added to it, until it has become a huge book of about a hundred thousand couplets. All sorts of tales, legends and myths, philosophical treatises, scraps of history, and various discussions have been added to it from time to time, until it is a vast, gigantic mass of literature; and through it all runs the old, original story. The central story of the Mahabharata is of a war between two families of cousins, one family, called the Kauravas, the other the Pândavas — for the empire of India. The Aryans came into India in small companies. Gradually, these tribes began to extend, until, at last, they became the undisputed rulers of India.
    [Show full text]
  • SRUTAYUS in SRUTAYUS III. a Ksatriya King. SRUTAYUS IV
    SRUTAYUS in 743 STHULASIRAS I once a thief of (vii) Another battle was fought between Srutayus and leaves, roots and fruits, day. The pearl, bronze will have Arjuna. (M.B. Drona Parva, Chapter 92, Verse 36) . coral, copper, silver, iron, and stone, rice for Those (viii) Srutayus was killed by his own cudgel. (Maha- to eat millet (Kananna) twelve days. bharata, Drona Parva, Chapter 92, Verse 54). (See who steal food products, vehicle, bed, chair, flowers, also under Srutayudha). fruits, roots etc. will be made to eat Pancagavya SRUTAYUS III. A Ksatriya king. He was born from a (Milk, curd, butter, urine and dung of cow). He who portion of the Daitya, Krodhavasa. We get the follow- steals grass, firewood, tree, dried rice, saccharum, ing details about him from Mahabharata: cloth, hide, meat etc. will have to be made to fast for (i) Srutyayus was the re-birth of Krodhavasa, the three days. Daitya. (M.B. Adi Parva, Chapter 67, Verse 64). STHAIVDILEYU. A son born to Raudrasva, the third a Puru. The celestial maid Misrakesi was the (ii) Srutayus, who was Maharatha (a great warrior) son of King was present at the Svayarhvara of Draupadi. (M.B. mother of Sthandileyu. This Sthandiltyu was a great Verse Adi Parva, Chapter 185, Verse 21 ). archer. (Mahabharata, Adi Parva, Chapter 94, (iii) This Srutayus was a member of Yudhisthira's 8). assembly. (M.B. Sabha Parva, Chapter 4, Verse' 28). STHAftU I. Siva, the son of Brahma. The eleven (iv) On the first day of Bharata battle, there was a Rudras were born from Sthanu.
    [Show full text]
  • Kunti, Satyavati's Grand
    unti, Satyavati’s grand- Part III: Five Holy Virgins, Five Sacred Myths daughter-in-law, is a remarkable study in K 1 womanhood. Kunti chooses the handsome Pandu in a bridegroom- “One-in Herself” choice ceremony, svayamvara, only to find Bhishma snatching away her Why Kunti Remains a Kanya happiness by marrying him off again immediately to the captivating Madri. Pradip Bhattacharya She insists on accompanying her husband into exile and faces a horripilating situation: her beloved husband insists that she get son after In the first two parts of this quest we have explored two of son for him by others. It is in this 2 the five kanyas, Ahalya and Mandodari of the Ramayana, husband-wife encounter that Kunti’s seeking to understand what makes them such remarkable individuality shines forth. At first she women, as well as describe what special features firmly refuses saying, “Not even in characterise all these kanyas.We are now entering the dense thought will I be embraced by another (I.121.5).” forest of the Mahabharata to discuss Kunti. To help the Her statement is somewhat readers through its thickly interwoven maze of relationships, devious, as already she has embraced I have provided the broad linkages of these characters in a Surya and regained virgin status by separate box (see opposite page).* virtue of his boon after delivering Karna. It is, however, evidence of her and tries to persuade her urging that Shvetaketu’s scriptural directive for resolve to maintain an unsullied (a) she will only be doing what is implicitly obeying the husband’s reputation.
    [Show full text]
  • The Role of Women in the Mahabharata
    THE ROLE OF WOMEN IN THE MAHABHARATA The role of women in the Mahabharata makes an interesting study providing insight into the strengths and weaknesses of their character. In this epic, four women play crucial parts in the course of events. The first is Satyavati who was the daughter of the chieftain of fishermen. As a young maiden, while ferrying sage Parasara across a river, he fell in love with her. She bore him a son, Vyasa. He was brought up as an ascetic sage, but before he returned to forest life, he promised his mother he would come and help her whenever she faced difficulty. Later, the emperor Santanu fell in love with her. Her father consented to the marriage only on condition that her children would inherit the throne. Santanu’s older son, the crown prince Bhishma, not only voluntarily relinquished his right but also took the vow that he would remain celibate so that he could not have any children who might lay claim to the throne in the future. After Santanu passed away, Satyavati’s two sons died young. The older one was unmarried, and the younger had two wives, Ambika and Ambalika, who were childless. This created a crisis for there was no legal heir to the Kuru throne. Bhishma did not relent from his vow because he considered it sacred. At this juncture, Satyavati sent for her son Vyasa, who promptly responded per his earlier promise. Satyavati said the problem could be solved by his fathering a child through each of the two young widows.
    [Show full text]
  • Penelope and the Pigs: Indic Perspectives on the "Odyssey" Author(S): Stephanie W
    Penelope and the Pigs: Indic Perspectives on the "Odyssey" Author(s): Stephanie W. Jamison Source: Classical Antiquity, Vol. 18, No. 2 (Oct., 1999), pp. 227-272 Published by: University of California Press Stable URL: http://www.jstor.org/stable/25011102 . Accessed: 22/05/2011 05:20 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Classical Antiquity. http://www.jstor.org STEPHANIE W. JAMISON Penelope and the Pigs: Indic Perspectives on the Odyssey Reading theOdyssey as an Indologist immediately suggests comparisons and raises questions thatmay make aHellenist's hair standon end.
    [Show full text]
  • Contents Chap
    CONTENTS CHAP. PAGE I. THE EARLY NARRATIVE POETRY OF INDIA . 1 II. THE RECORDS OF THE INDIAN HEROIC AGE . 15 III. THE CHRONOLOGY OF THE HEROIC AGE OF INDIA 33 IV. EARLY INDIAN MINSTRELSY /ND HEROIC POETRY ....... 48 V. THE COMMON CHARACTERISTICS OF HEROIC POETRY ....... 70 VI. UNHISTORICAL ELEMENTS IN HEROIC POETRY . 91 VII. SOCIETY IN THE HEROIC AGE OF INDIA (I) . 114 VIII. SOCIETY IN THE HEROIC AGE OF INDIA (II) . 144 IX. GOVERNMENT IN THE HEROIC AGE . 170 X. RELIGION IN THE HEROIC AGE OF INDIA . 194 XI. CONCLUSION ...... 218 NDEX ......... 227 PREFACE TT\ISRAELI somewhere asserts that experience is less than nothing to a creative mind, and that almost everything that is great has been done by youth. The theory for but it is may not hold good latter-day society ; eminently applicable to a particular stage in the history of almost every nation. In such a state of society the energy and exuberance of youth find expression in vigorous action, *n deeds of might and valour. The individual asserts himself against old bonds and old ties, which are replaced by new. " " Yet for what we call a Heroic Age something more is necessary. The heroism must be there ; but the hero must have someone to commemorate his acts. This record of his deeds is not a product of the imagination or the brain of a later time it there then the ; originates and with performance of the heroic action. We have extant such poetic records in the literature of various countries, poems which though " widely separated from one another both in date and place " of origin present strikingly similar features.
    [Show full text]
  • Shiva ≡ the Supreme
    || || ॐ नमो भगवते वासुदेवाय || नमः || ी कृ णाय Shiva ≡ The Supreme It is a foregone conclusion in Advaita Vedanta that Vishnu = Shiva. Why then point to scriptural passages that extol Shiva (also) as the Supreme? There is one purpose, though not very lofty. Most Hindus grow up in families that read the Ramayana and the Gita, celebrate festivals like Ramanavami and Gokulashtami, and make a pilgrimage to Tirupathi. This does not go unnoticed by some Vaishnavas, who time and again selectively quote the scriptures to ‘prove’ that Vishnu alone is the Supreme, and that Shiva is an ‘inferior’ deity. They (often) go on to claim that Vishnu is to be exclusively worshipped, suggesting that worshipping Shiva is less recommended in the Scriptures – or worse, that it may actually be ‘wrong’ to do so! As this issue keeps popping up repeatedly, this present write-up will (hopefully) end any doubts in that regard. Only two Scriptures will be cited here, which are accepted by all Hindus – the Mahabharata and the Yajur-Veda. The English translation of a verse will be supplied first, after which will follow (in most cases) its Sanskrit transliteration (saMskRRitam ) in the ITRANS format. The translation of the Mahabharata by Kisari Mohan Ganguli has been used almost verbatim, with negligible changes. Unless otherwise specified, “Shiva” will refer to the Being who resides in Kailasa, has a Blue Throat, uses Nandi for a vehicle, etc.; and “Vishnu” will denote the Being who resides in Vaikuntha, bears the Kaustubha gem, uses Garuda for a vehicle, etc. If one wants to skip the explicit details and directly obtain the conclusion, please visit the last Section V below.
    [Show full text]
  • Hierarchical Classification of Warriors (Human Resources) in Mahabharat War
    September 2017, Volume 4, Issue 09 JETIR (ISSN-2349-5162) HIERARCHICAL CLASSIFICATION OF WARRIORS (HUMAN RESOURCES) IN MAHABHARAT WAR 1PROF. DR. S.K.SHARMA, 2SOURABH KRISHNA JOSHI 1Dean, Management Faculty, 2Asst. Prof. Commerce Faculty, 1 2 Jodhpur National University Jodhpur (RAJ), Mahila PG MahaVidyalay, Kamla Nehru Nagar, Jodhpur. Abstract: The war of the Mahabharata was as destructive, the mysterious for today's generation is also a matter of research even after years, and how that battle was fought without the latest technical resources? But it was Yogiraj Lord Yuyutsu, who can be called the father of modern SUPPLY CHAIN MANAGEMENT, fought a war on behalf of Pandavas and judiciously utilized available resources. Krishna's diplomacy that even a relatively small group of less warriors in this crusade demonstrated vitality in front of the more powerful warriors. Today in the war, armies want to avoid fighting face to face, because Massacre is fixed. Nowadays, there are battalions, regiments, squadrons in every country's army, in the same way, in the Mahabharata period; "Akshauhini" was assessed by the army. Akshauhini was called a complete unit of the army. It had four integral components, i.e. foot soldiers, the cavalry i.e. on Elephant, the warrior rider and the charioteer, the warrior rider that was called a smart army. Akshauhini used to be the measure of army in ancient India. This is the Sanskrit word. There are some differences in its number from different sources. According to the Mahabharata, there were 21,870 chariots, 21,870 elephants, 65,610 horsemen and 1,09,350 infantry soldiers.
    [Show full text]