BG-1.12 — Bhīṣma's Lion-Roar and Conch
BG-1.12
तस्य संजनयन्हर्षं कुरुवृद्धः पितामहः । सिंहनादं विनद्योच्चैः शंखं दध्मौ प्रतापवान ॥१२॥
"Generating joy in him, the eldest of the Kurus, the majestic grandsire, bellowed a lion-roar on high and blew his conch."
This is the hinge of the chapter's opening. Duryodhana has just finished his anxious army-survey to Droṇa (BG-1.7-11), counting and re-counting his strength to soothe himself. His grandsire Bhīṣma — the eldest Kaurava, the supreme commander — answers not with words but with sound: he generates joy (samjanayan harṣam) in the despondent king by first roaring like a lion and then blowing his conch. It is the first sound of the Mahābhārata war proper. Jñāneśvar's six ovis take the two laconic Sanskrit sounds and swell them into a cosmic soundscape — the roar and conch fuse, the three worlds go deaf, the sky seems to fall, the ocean heaves, and finally the army's own war-instruments are struck forth in answer — one warrior's signal becoming the keynote the whole martial cosmos returns.
Ovi 1.125
Original (Marathi): या राजयाचिया बोला । सेनापति संतोषला । मग तेणें केला । सिंहनादु ॥१२५॥ Voice: jnaneshvar-teacher (battlefield-narration; the framing-phrase या राजयाचिया बोला "at this king's speech" anchors the narrator picking up directly from Duryodhana's speech)
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| या राजयाचिया बोला | at this king's (Duryodhana's) speech / words |
| सेनापति संतोषला | the army-commander (Bhīṣma) was gladdened |
| मग तेणें केला | then he made / produced |
| सिंहनादु | a lion-roar (simha-nāda) |
Literal translation
English: At this king's speech the army-commander was gladdened; then he made a lion-roar.
मराठी (आधुनिक): या राजाच्या (दुर्योधनाच्या) बोलण्यानं सेनापती (भीष्म) संतुष्ट झाला; मग त्यानं सिंहगर्जना केली.
Sanskrit-root note
simha-nāda = simha (lion) + nāda (a sounding, roar) — literally "lion-sounding," the conventional epic term for a warrior's battle-roar; the संजनयन्हर्षं (joy-generating) of the Sanskrit is carried by संतोषला (was-gladdened), the effect standing in for the cause.
Metaphor-unfold
No extended metaphor in this ovi. सिंहनादु ("lion-roar") is a fixed epic compound (warrior's roar), not a developed image — the sound is named, not unfolded.
Nāth-yogic layer
No Nāth-yogic referent in this ovi. This is opening battlefield-narration; the नाद here is a literal war-roar, not the anāhata-nāda of sound-yoga.
Cross-references
- Internal: Opens the cluster's roar-and-conch chain that 1.130 will close with the army's answering रणतुरें (war-instruments struck-forth).
- Tukaram parallel: (none specific to this ovi — the roar-as-weapon parallel arrives at 1.128 where the sound deafens the three worlds)
- Source citation: Bhagavad Gītā 1.12 — तस्य संजनयन्हर्षं कुरुवृद्धः...सिंहनादं विनद्य ("generating his joy, the eldest Kuru...bellowed a lion-roar"); राजयाचिया बोला supplies the तस्य-referent (Duryodhana's just-finished speech), संतोषला renders the harṣam-generation, सेनापति renders कुरुवृद्धः by rank.
Modern application
- When a leader answers someone's anxiety with a show of force instead of an answer. Duryodhana voiced unease; Bhīṣma's reply is not reassurance-in-words but a roar — a display calculated to generate a feeling (harṣam) in the other. The manager who responds to a worried team by projecting loud confidence rather than addressing the worry.
- When you perform an emotion for someone to make them feel something. संजनयन्हर्षं — "generating joy in him" — is the deliberate manufacture of another's mood. The pep-talk, the rally, the staged confidence whose real function is to manage someone else's fear.
- When the senior person sets the emotional key of the room by a single act. Bhīṣma is सेनापति and कुरुवृद्धः — rank and seniority — and one roar from him re-pitches the whole field. The moment the most senior voice does one loud thing and everyone's mood snaps to it.
Sādhanā
Today, catch one moment when you raise your volume, your energy, or your certainty in order to generate a feeling in someone else rather than to say something true. Just notice it: "I am roaring to move them, not to inform them." Don't suppress it; only see the move.
Arc
1.125 states the bare act — gladdened, the commander makes the lion-roar; 1.126 develops its acoustic consequence: the roar reverberates wondrously, its echo too vast to be contained between the two armies.
Ovi 1.126
Original (Marathi): तो गाजत असे अद्भुतु । दोन्ही सैन्याआंतु । प्रतिध्वनि न समातु । उपजत असे ॥१२६॥ Voice: jnaneshvar-teacher (battlefield-narration; descriptive third-person तो गाजत असे "it resounds")
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| तो गाजत असे अद्भुतु | it (the roar) resounds wondrously / astonishingly |
| दोन्ही सैन्याआंतु | between / within the two armies |
| प्रतिध्वनि न समातु | the echo (prati-dhvani), not contained / not fitting |
| उपजत असे | is arising / is being born |
Literal translation
English: It resounds wondrously between the two armies; the echo, unable to be contained, keeps arising.
मराठी (आधुनिक): तो (नाद) दोन्ही सैन्यांच्या मध्ये अद्भुतपणे घुमतो; त्याचा प्रतिध्वनी मावेनासा होऊन उठतच राहतो.
Sanskrit-root note
prati-dhvani = prati (back, return) + dhvani (sound) — "the sound returned," the echo; न समातु (न समाय-) = "does not fit / cannot be held," the echo exceeding the physical space available.
Metaphor-unfold
No extended metaphor in this ovi. प्रतिध्वनि न समातु ("the echo cannot be contained") is a vivid spatial hyperbole — sound exceeding the gap between the armies — but it is a single intensifying image, not a sustained unfolding.
Nāth-yogic layer
No Nāth-yogic referent in this ovi.
Cross-references
- Internal: (none confidently identified beyond the linear cluster chain)
- Tukaram parallel: (none specific to this ovi)
- Source citation: Bhagavad Gītā 1.12 — उच्चैः ("loudly, on high"); the प्रतिध्वनि-न-समातु "echo-cannot-be-contained" image is Jñāneśvar's spatial-amplification of the bare amplitude-adverb उच्चैः.
Modern application
- When a loud signal fills more space than the thing that caused it. A single roar, and its echo "won't fit" between the armies — the reaction outsizing the act. The one sharp email, remark, or announcement whose reverberation through an organization dwarfs the small thing that triggered it.
- When the reaction to a statement becomes bigger than the statement. प्रतिध्वनि न समातु — the echo keeps arising, uncontainable. The viral overflow: what was said is small; what bounces back is what fills the room.
- When a confident gesture is designed to be impossible to ignore. The roar is pitched (उच्चैः) so that no one in either army can fail to hear it. The deliberately un-ignorable signal — the move whose whole point is that it cannot be contained or talked over.
Sādhanā
Today, pick one message or remark you put out and watch its echo — the replies, the forwards, the re-tellings. Notice the ratio: how small was the original, how large is what came back? Just measure the प्रतिध्वनि once, without managing it.
Arc
1.126 leaves the lion-roar still ringing, its echo unconfined; 1.127 adds the second sound — on the very tail of that roar, Bhīṣma blows his divine conch with a surge of warrior-temper.
Ovi 1.127
Original (Marathi): तयाचि तुलगासवें । वीरवृत्तीचेनि थावें । दिव्य शंख भीष्मदेवें । आस्फुरिला ॥१२७॥ Voice: jnaneshvar-teacher (battlefield-narration; the reverential naming भीष्मदेवें "the divine Bhīṣma" anchors the narrator's framing)
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| तयाचि तुलगासवें | on the very tail / measure of that [roar] |
| वीरवृत्तीचेनि थावें | with the surge / force of warrior-temper (vīra-vṛtti) |
| दिव्य शंख भीष्मदेवें | the divine conch, by the divine Bhīṣma |
| आस्फुरिला | struck forth / made to resound / sounded |
Literal translation
English: On the very tail of that roar, with a surge of warrior-temper, the divine Bhīṣma struck forth his divine conch.
मराठी (आधुनिक): त्या (गर्जनेच्या) पाठोपाठच, वीरवृत्तीच्या आवेगानं, भीष्मदेवांनी आपला दिव्य शंख फुंकला.
Sanskrit-root note
vīra-vṛtti = vīra (hero, warrior) + vṛtti (disposition, temper, mode-of-being) — the heroic disposition surging up; renders the Sanskrit प्रतापवान (majestic-with-prowess) as the temper behind the act. āsphuriला (आस्फुर-) = made-to-throb/resound/burst-forth, renders दध्मौ (blew).
Metaphor-unfold
No extended metaphor in this ovi. वीरवृत्तीचेनि थावें ("with the surge of warrior-temper") is a single intensifying phrase, not a developed image.
Nāth-yogic layer
No Nāth-yogic referent in this ovi. The शंख (conch) here is the literal battlefield conch, not a yogic sound-symbol; भीष्मदेवें honors the grandsire, it does not signal esoteric content.
Cross-references
- Internal: (none confidently identified beyond the linear cluster chain; the आस्फुरिला struck-forth verb returns at 1.130's रणतुरें आस्फुरिलीं)
- Tukaram parallel: (none specific to this ovi)
- Source citation: Bhagavad Gītā 1.12 — शंखं दध्मौ प्रतापवान ("the majestic one blew the conch"); शंख आस्फुरिला renders दध्मौ, वीरवृत्तीचेनि थावें renders प्रतापवान as heroic-surge, भीष्मदेवें supplies the पितामहः grandsire-referent with a reverential -देव honorific.
Modern application
- When one decisive act follows immediately on another to compound its force. तयाचि तुलगासवें — "on the very tail of that" — roar then conch, with no gap. The one-two of a leader who lands a second move before the first has stopped echoing, doubling the impact.
- When the temper behind an act is what carries it, not the act itself. वीरवृत्तीचेनि थावें — the surge of warrior-spirit. The conch is just a shell; what makes it land is the disposition driving it. The presentation, the announcement, the gesture whose power is the conviction-surge behind it, not its content.
- When seniority is named with reverence even mid-conflict. Jñāneśvar calls him भीष्मदेवें — the divine Bhīṣma — even as he opens a war. The way we still dignify the respected elder or rival whose stature we honor regardless of which side they stand on.
Sādhanā
Today, before one thing you have to "sound" — a hard message, a decision, an announcement — pause and ask what temper (वीरवृत्ति) you are sounding it from: surge, fear, duty, spite? Name the disposition in one word before you act. The same conch sounds different depending on the temper behind it.
Arc
1.127 sets the two sounds side by side — the lion-roar and the conch-blast; 1.128 fuses them into one sound that deafens the three worlds, the cluster's cosmic climax.
Ovi 1.128
Original (Marathi): ते दोन्ही नाद मीनले । तेथ त्रैलोक्य बधिरीभूत जाहलें । जैसें आकाश कां पडिलें । तुटोनिया ॥१२८॥ Voice: jnaneshvar-teacher (battlefield-narration; the cosmic-scale तेथ त्रैलोक्य "there the three worlds" anchors the narrator's amplifying voice)
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| ते दोन्ही नाद मीनले | those two sounds merged / met / fused |
| तेथ त्रैलोक्य बधिरीभूत जाहलें | there the three worlds (trai-lokya) were rendered deaf (badhirī-bhūta) |
| जैसें आकाश कां पडिलें | as if the sky had fallen |
| तुटोनिया | having snapped / torn loose |
Literal translation
English: Those two sounds merged, and there the three worlds went deaf — as if the sky had snapped loose and fallen.
मराठी (आधुनिक): ते दोन्ही नाद एकवटले, आणि तिथं त्रैलोक्य बधिर होऊन गेलं — जणू आकाशच तुटून खाली कोसळलं.
Sanskrit-root note
badhirī-bhūta = badhira (deaf) + bhūta (become) — "become-deaf," rendered-deaf; trai-lokya = the three worlds (heaven, earth, netherworld). Both are Sanskrit-loan vocabulary carried straight into the Marathi for cosmic register.
Metaphor-unfold
| Literal image | Philosophical referent | Modern equivalent |
|---|---|---|
| The two sounds (lion-roar + conch) fuse into one (दोन्ही नाद मीनले) | A single overwhelming sensory event that obliterates the capacity to register anything else | Two signals combining into one wall of sound — the moment input stops being heard and becomes pure overwhelm |
| The three worlds go deaf (त्रैलोक्य बधिरीभूत) | Totality of perception saturated past its limit — not silence, but sound so total it cancels hearing | The room, the feed, the crowd so saturated by one din that no further message can land — saturation as a kind of deafness |
| "As if the sky had snapped and fallen" (जैसें आकाश कां पडिलें तुटोनिया) | The felt collapse of the stable cosmos — the world-frame itself seeming to give way under the shock | The moment a single event makes the floor of your reality seem to drop — the "everything-just-changed" jolt |
Metaphor-family: sky-rupture / cosmic-collapse simile (जैसें...frame). This is the cluster's one genuine extended simile — the explicit जैसें "as if" likens the fused war-sound to the firmament tearing loose. The image works by equating effects: the sound does to perception what a falling sky would do to the world — total, frame-collapsing, un-survivable-seeming.
Nāth-yogic layer
No Nāth-yogic referent in this ovi. The नाद (sound) here is the literal fused roar-and-conch of the battlefield — not the anāhata-nāda (unstruck sound) of Nātha sound-yoga. Reading the two-sounds-merging as suṣumnā-nāda union would be a fabrication; the adjacent ovis (sky thundering, ocean heaving) confirm a physical-cosmic, not yogic, frame.
Cross-references
- Internal: (none confidently identified within Dnyāneśvarī for this specific sky-rupture image-instance)
- Tukaram parallel:
- Abhang 1105 — कैसे गर्जती घोष (kaisē garjatī ghōṣa, "how they roar the war-cry") of the nāma-vīras, before whom the mahā-pātakas tremble and flee. Tukaram transposes onto bhakti the very image of this cluster's simhanāda — a roar (garjana) whose sheer sound routs the opposing power and deafens/terrifies. Where Jñāneśvar's lion-roar renders the three worlds बधिरीभूत (deaf), Tukaram's roar puts the host of great-sins to flight — the same structure: one overwhelming sound breaking the opposing field, recast as the bhakta's offensive weapon.
- Source citation: Bhagavad Gītā 1.12 — the verse names lion-roar and conch separately; the fusion (दोन्ही नाद मीनले), the three-worlds-deafened (त्रैलोक्य बधिरीभूत) and the sky-rupture simile (आकाश तुटोनिया पडिलें) are wholly Jñāneśvar's cosmic amplification.
Modern application
- When two signals combine into a wall you can no longer hear into. The roar and conch merge and hearing itself fails — not from silence but from saturation. The meeting, the feed, the argument so loud with combined noise that no single point can register anymore. Overwhelm as a form of deafness.
- When one event makes the whole frame seem to fall. जैसें आकाश पडिलें — the sky snapping loose. The news, the loss, the announcement after which "everything changed" — the felt collapse of the stable world, even when the literal world is intact.
- When manufactured overwhelm is used to stop thought. Bhīṣma's fused sound deafens — and a deafened army cannot deliberate. The deliberate flood (of noise, of stimulus, of crisis) that works precisely by making careful hearing impossible.
Sādhanā
Today, find one moment when you feel "deafened" — flooded past the point of taking anything in (a feed, an inbox, a loud space). Instead of pushing through, stop for sixty seconds and let one sound at a time return. Notice that the deafness was saturation, not silence — and that it lifts when the wall of sound is unmerged.
Arc
1.128 declares the three worlds deafened as if the sky fell; 1.129 unpacks that cosmic shock element by element — the firmament thunders, the ocean heaves, the whole moving-and-unmoving world quakes.
Ovi 1.129
Original (Marathi): घडघडीत अंबर । उचंबळत सागर । क्षोभलें चराचर । कांपत असे ॥१२९॥ Voice: jnaneshvar-teacher (battlefield-narration; the scene-painting अंबर/सागर/चराचर anchors the narrator's descriptive voice)
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| घडघडीत अंबर | the firmament / sky (ambara) thunders, rumbles |
| उचंबळत सागर | the ocean (sāgara) surges up, heaves |
| क्षोभलें चराचर | the moving-and-unmoving world (cara-acara) is agitated / convulsed |
| कांपत असे | is trembling / quaking |
Literal translation
English: The firmament thunders, the ocean heaves up, all moving and unmoving creation is convulsed — it trembles.
मराठी (आधुनिक): आकाश घडघडतं, सागर उचंबळतो, चराचर सृष्टी क्षुब्ध होऊन थरथर कापते.
Sanskrit-root note
cara-acara = cara (moving, animate) + acara (unmoving, inanimate) — the standard Sanskrit merism for "all creation, animate and inanimate"; kṣubdha (क्षोभलें) = stirred-up, agitated, convulsed.
Metaphor-unfold
No extended metaphor in this ovi. This is a distributed catalog of cosmic convulsion (sky / ocean / all-creation), each clause a direct effect-image rather than a sustained unfolding simile — the simile proper was 1.128's sky-rupture; here it is cashed out literally.
Nāth-yogic layer
No Nāth-yogic referent in this ovi.
Cross-references
- Internal: Cashes out 1.128's त्रैलोक्य-बधिरीभूत three-worlds-deafened claim — distributing the single cosmic-deafening across sky (अंबर), sea (सागर), and all animate-inanimate creation (चराचर).
- Tukaram parallel: (none specific to this ovi)
- Source citation: Bhagavad Gītā 1.12 — the verse has no cosmic-convulsion content; घडघडीत अंबर / उचंबळत सागर / क्षोभलें चराचर is wholly Jñāneśvar's elaboration of the sound's effect.
Modern application
- When the shock of one event is felt to ripple through everything. Sky, ocean, all creation — the convulsion is total. The personal earthquake (a diagnosis, a collapse, a betrayal) after which nothing — not the most ordinary thing — feels stable; every corner of life seems to tremble.
- When you watch a system you thought solid start to shake. उचंबळत सागर, क्षोभलें चराचर — the heaving ocean, the convulsed world. The moment a market, an institution, a relationship you took as bedrock visibly quakes, and you realize how much rested on its stillness.
- When a single loud act makes even the inanimate "respond." चराचर — moving and unmoving — both quake. The disruption so large that not just people but processes, structures, the very furniture of a situation seem to shudder. The over-claim of total impact — and the narrative knows it is hyperbole on the losing side.
Sādhanā
Today, when something shakes you, ask one honest question: how much of my world is actually trembling, and how much only feels like it? Name one thing that is, in fact, still steady — one stable point the convulsion did not touch. Let it be the floor that did not fall.
Arc
1.129 gives the cosmos convulsing under the great roar; 1.130 returns to the battlefield, where that same mahā-ghoṣa booms back from the mountain-caves and the army's own war-instruments are struck forth in answer.
Ovi 1.130
Original (Marathi): तेणें महाघोषगजरें । दुमदुमिताती गिरिकंदरें । तव दळामाजीं रणतुरें । आस्फुरिलीं ॥१३०॥ Voice: jnaneshvar-teacher (battlefield-narration; तव दळामाजीं "meanwhile within the army" anchors the narrator returning the scene to the battlefield)
Word-by-word gloss
| Marathi | Meaning |
|---|---|
| तेणें महाघोषगजरें | by that great-roar-din (mahā-ghoṣa-gajara) |
| दुमदुमिताती गिरिकंदरें | the mountain-caves (giri-kandara) boom and resound |
| तव दळामाजीं | meanwhile, within the army (daḷa) |
| रणतुरें आस्फुरिलीं | the war-instruments (raṇa-tūra) were struck forth / sounded |
Literal translation
English: With that great booming din the mountain-caves resound; and meanwhile, within the army, the war-instruments were struck forth.
मराठी (आधुनिक): त्या महाघोषाच्या गजरानं डोंगरकपारी दुमदुमून निघाल्या; आणि तेवढ्यात सैन्यात रणवाद्यं वाजू लागली.
Sanskrit-root note
mahā-ghoṣa = mahā (great) + ghoṣa (din, uproar); giri-kandara = giri (mountain) + kandara (cave, gorge); raṇa-tūra = raṇa (battle) + tūra (a wind/percussion instrument) — the battlefield war-instruments. आस्फुरिलीं here echoes 1.127's आस्फुरिला (struck-forth), now plural for the many instruments.
Metaphor-unfold
No extended metaphor in this ovi. The mountain-caves booming back (दुमदुमिताती गिरिकंदरें) is an echo-image continuous with 1.126's प्रतिध्वनि, not a new sustained metaphor.
Nāth-yogic layer
No Nāth-yogic referent in this ovi.
Cross-references
- Internal: Ring-companion to 1.125/1.127 — the रणतुरें आस्फुरिलीं (war-instruments struck-forth) closes the cluster by echoing the सिंहनादु केला (lion-roar made, 1.125) and शंख आस्फुरिला (conch struck-forth, 1.127): the cluster opens with one warrior's solo roar and closes with the whole army's instruments answering it.
- Tukaram parallel:
- Abhang 520 — the bhakti-ḍāngōrā (war-drum) struck so its darārā (terror) falls on kalikāḷa (the dark age). Tukaram takes the battlefield war-instrument struck to terrify an opposing host — exactly the function of the रणतुरें here, struck in answer to Bhīṣma's simhanāda and conch — and recasts it as the bhakta's offensive sound against the dark-age. The martial sound-instrument turned into a bhakti-armament whose darārā routs kalikāḷa as Bhīṣma's daḷa-instruments ring the cosmos.
- Source citation: Bhagavad Gītā 1.12 — the verse ends with Bhīṣma's conch; the army's answering war-instruments belong to BG-1.13 (ततः शंखाश्च भेर्यश्च...सहसैवाभ्यहन्यन्त). Jñāneśvar's रणतुरें आस्फुरिलीं anticipates BG-1.13, bridging Bhīṣma's solo conch into the coming collective war-din.
Modern application
- When one person's signal triggers a cascade everyone else amplifies. Bhīṣma roars; the whole army's instruments answer; the caves boom it back. The single bold move that everyone then echoes — the founder's stance the company repeats, the one loud opinion the whole feed amplifies until the original is lost in the din it started.
- When the environment itself seems to answer back. दुमदुमिताती गिरिकंदरें — even the mountain-caves resound. The moment your own action comes back at you magnified by everything around it — the feedback loop where what you put out returns louder, from every direction.
- When a solo gesture becomes a collective war-cry. The cluster moves from one roar to the army's instruments. The instant an individual's signal stops being theirs and becomes the group's — the tipping point where a personal stand turns into a movement's drumbeat.
Sādhanā
Today, track one signal you send — a strong statement, a stance, a tone — and watch who amplifies it. Notice the moment it stops being yours and becomes the room's. Ask once: did I mean to start this much sound? Just see the cascade you set off, before deciding whether to feed or quiet it.
Arc
1.130 closes the cluster by ring-completing 1.125's lion-roar with the army's answering instruments; the next śloka (BG-1.13) cashes this out directly — ततः शंखाश्च भेर्यश्च, the conches, kettledrums, tabors, trumpets and cow-horns of the whole Kaurava host struck all at once, the collective war-din that Jñāneśvar has already anticipated here.
Cluster summary
Core teaching: BG-1.12 is the hinge that turns Duryodhana's anxious army-survey (BG-1.7-11) into the war's opening sonic chain. The grandsire Bhīṣma — eldest Kaurava and supreme commander — answers his despondent king not with words but by generating joy (samjanayan harṣam): he first bellows a lion-roar and then blows his divine conch. Jñāneśvar's six ovis take the two laconic Sanskrit sounds and swell them into a cosmic soundscape — the roar's echo cannot be contained between the armies (1.126), the divine conch answers on its very tail (1.127), the two sounds fuse and the three worlds go deaf as if the sky had snapped and fallen (1.128, the cluster's one extended simile), the firmament thunders and the ocean heaves and all creation quakes (1.129), and finally the army's own war-instruments are struck forth in answer, the caves booming the great din back (1.130). One warrior's single signal becomes the keynote the whole martial cosmos returns.
Chapter arc position: This is the first sound of the Mahābhārata war proper, in the opening narrative of adhyāya 1 (Arjuna-viṣāda-yoga). Bhīṣma's roar inaugurates the chain of conch-blasts (BG-1.12-19) whose swelling war-din will immediately precede Arjuna's request to halt the chariot and his collapse. The cluster's whole work is amplification — taking two terse Sanskrit sounds and rendering the cosmic scale of a war beginning.
Connects to BG-1.13: ततः शंखाश्च भेर्यश्च पणवानकगोमुखाः — "then conches and kettledrums, tabors, drums and cow-horns were sounded all at once." BG-1.13 directly answers Bhīṣma's solo conch with the whole Kaurava host's instruments struck together — exactly the collective war-din that Jñāneśvar already anticipates in this cluster's closing रणतुरें आस्फुरिलीं (war-instruments struck-forth, 1.130).