Bhagavad Gita - Chapter 1 - Shloka (Verse) 13

व्याख्या--'ततः शङ्खाश्च भेर्यश्च पणवानक-गोमुखाः'-- यद्यपि भीष्मजीने युद्धारम्भकी घोषणा करनेके लिये शंख नहीं बजाया था, प्रत्युत दुर्योधनको प्रसन्न करनेके लिये ही शंख बजाया था,तथापि कौरवसेनाने भीष्मजीके शंखवादनको युद्धकी घोषणा ही समझा। अतः भीष्मजीके शंख बजानेपर कौरवसेनाके शंख आदि सब बाजे एक साथ बज उठे।
'शंख' समुद्रसे उत्पन्न होते हैं। ये ठाकुरजीकी सेवापूजामें रखे जाते हैं और आरती उतारने आदिके काममें आते हैं। माङ्गलिक कार्योंमें तथा युद्धके आरम्भमें ये मुखसे फूँक देकर बजाये जाते हैं। 'भेरी' नाम नगाड़ोंका है (जो बड़े नगाड़े होते हैं उनको नौबत कहते हैं)। ये नगाड़े लोहेके बने हुए और भैंसेके चमड़ेसे मढ़े हुए होते हैं तथा लकड़ीके डंडेसे बजाये जाते हैं। ये मन्दिरोंमें एवं राजाओंके किलोंमें रखे जाते हैं। उत्सव और माङ्गलिक कार्योंमें ये विशेषतासे बजाये जाते हैं। राजाओंके यहाँ ये रोज बजाये जाते हैं।'पणव' नाम ढोलका है। ये लोहेके अथवा लकड़ीके बने हुए और बकरेके चमड़ेसे मढ़े हुए होते हैं तथा हाथसे या लकड़ीके डंडेसे बजाये जाते हैं। ये आकारमें ढोलकीकी तरह होनेपर भी ढोलकीसे बड़े होते हैं। कार्यके आरम्भमें पणवोंको बजाना गणेशजीके पूजनके समान माङ्गलिक माना जाता है। 'आनक' नाम मृदङ्गका है। इनको पखावज भी कहते हैं। आकारमें ये लकड़ीकी बनायी हुई ढोलकीके समान होते हैं। ये मिट्टीके बने हुए और चमड़ेसे मढ़े हुए होते हैं तथा हाथसे बजाये जाते हैं। 'गोमुख' नाम नरसिंघेका है। ये आकारमें साँपकी तरह टेढ़े होते हैं और इनका मुख गायकी तरह होता है। ये मुखकी फूँकसे बजाये जाते हैं।

Having understood the King's intention, immediately after Bhishma's action, the various kings on his side made their conches and other instruments sound instantly.

And that sound produced by conches etc. became "Tumulah"—meaning tumultuous/terrifying—illuminating (projecting) great fear for the enemies; he states this with "Tatah," etc.

"Tatah," etc. Immediately after the action of Bhishma, which was in accordance with Duryodhana's intention, conches and other specific instruments were struck (played) suddenly—meaning instantly—by the followers of Bhishma.

That sound became "tumula"—meaning great or tumultuous.

"Abhyahanyanta" means "abhihatah" (were struck).

This is a usage in the "Karma-kartari" voice (reflexive passive, where the object functions as the agent).

Dhritarashtra spoke; Sanjaya replied. Duryodhana, having personally observed the army of the Pandavas protected by Bhima and his own army protected by Bhishma, communicated to the Teacher (Drona) the adequacy of that (Pandava) army for his own defeat and the inadequacy of his own army for victory, and thus became internally filled with despondency.

Seeing his despondency, Bhishma, wishing to generate joy in him, roared like a lion, blew his conch, and created a tumult indicative of victory using the sounds of conches and kettledrums.

Thereafter, hearing that tumult, the Lord of all Lords, Parthasarathi (Krishna), and the warrior son of Pandu (Arjuna)—seated on a magnificent chariot that served as an instrument for conquering the three worlds—blew their divine conches, the glorious 'Panchajanya' and 'Devadatta', causing the three worlds to tremble. Then, Yudhishthira, Vrikodara (Bhima), and others blew their respective conches separately.

That sound shattered the hearts of all your sons headed by Duryodhana. The sons of Dhritarashtra felt that the strength of the Kauravas was destroyed that very day. Thus, Sanjaya related this to Dhritarashtra, who was desirous of their victory.

Then, seeing the sons of Dhritarashtra—headed by Bhishma and Drona—positioned and eager to fight, the son of Pandu (Arjuna), bearing the flag of the monkey who burnt Lanka (Hanuman), addressed Hrishikesha (Krishna). Krishna is the repository of knowledge, power, strength, sovereignty, valor, and splendor, who enacts the play of the world's creation, sustenance, and dissolution by His mere will, and who resides as the controller of all internal and external faculties of all beings high and low, yet was situated as his charioteer, overcome by affection for one who had taken refuge in Him. Arjuna urged Him to position the chariot at a vantage point suitable for observing those eager to fight, so he could view them properly.

Thus, having observed the war-enthusiasm of the Commander-in-Chief Bhishma, a war-enthusiasm commenced on all sides; he states this with "Tatah," etc.

"Panava," "Anaka," and "Gomukha" are specific musical instruments. "Sahasa eva"—meaning at that very moment—they "abhyahanyanta," meaning were played/sounded.

And that sound of conches and other instruments became "tumula"—meaning great or tumultuous.

He explains the meaning of the section starting from "Tasya sanjanayan" up to "tumulo 'bhavat" with the words "Tasya," etc. "Janayan" (Generating)—Here the 'Shatri' suffix is used to indicate the sense of 'hetu' (cause/purpose) according to Panini 3.2.126; therefore, it is stated (in the commentary) as "Janayitum" (In order to generate).

"Simhanadam vinadya" (Roaring a lion-roar)—To indicate that this usage is like "odanapakam pachati" (cooks a cooking of rice), the word "Kritva" (having done) is used. To imply the rule "Roots 'kri', 'bhu', and 'as' express action in general," the example "Shankhadhmanam cha kritva" (And having done the blowing of the conch) is given.

"Tatah shankhah" (Then conches)—Here, by the word "tatah," to indicate the desire for victory, it is made known that this was caused to be done by the Commander-in-Chief Bhishma; with this intention, it is said (in the commentary) "akarayat" (he caused to be done). "Shankha-bheri"—This implies Panava and other instruments. Thus, it is indicated that in the verse (13) too, the mention of specific instruments is merely indicative (Upalakshana).

The second "cha" (and) is to combine the sound of conches and kettledrums with the lion-roar and conch-blowing. By "Kritva" (having done), the third "cha" connects it with "akarayat" (he caused to be done).

निसंदेह सभी योद्धागण अत्यधिक तनाव में थे परन्तु जैसे ही उन्होंने शंखनाद सुना सबने अपनाअपना शंख उठाकर शंखध्वनि की। उसके बाद युद्ध के वाद्य शंख भेरी नगाड़े आदि युद्ध की घोषणा के रूप में बजने लगे। संजय इस कोलाहल का वर्णन तुमुलध्वनि हुई इस प्रकार करता है। परन्तु आगे प्रत्युत्तर में हुई पाण्डवों की शंखध्वनि का वर्णन करते हुए कहता है कि वह शब्द इतना भयंकर था कि आकाश और पृथ्वी उससे गूँजने लगे और कौरवों के हृदय विदीर्ण होने लगे। इस वर्णन से स्पष्ट होता है कि संजय दुर्योधन के इस कार्य का विरोधी था। अत हम पूर्ण विश्वास के साथ उसके द्वारा वर्णित युद्धभूमि में दिये गये भगवान् श्रीकृष्ण के उपदेश को स्वीकार कर सकते हैं।

"Tatah"—meaning after the action of the Commander-in-Chief Bhishma, "Panava," "Anaka," and "Gomukha"—specific musical instruments—were "abhyahanyanta," meaning played/sounded, "sahasa" (suddenly/instantly).

This is a usage in the reflexive passive voice (Karma-kartari).

That sound became "tumula"—meaning great; nevertheless, no agitation arose among the Pandavas—this is the implication.

Thus, having heard the sound of the Commander-in-Chief's conch which initiated the festival of war, the musicians played the drums and other instruments to alert everyone—he states this with "Tatah" (Then).

"Sahasa"—meaning at the very moment of hearing that—conches, kettledrums, tabors, drums, and cow-horns "abhyahanyanta," meaning were sounded.

By the word "eva" (implied in the immediacy), it is suggested that they played them only because they heard that sound, and not to manifest their own valor due to the imminence of war.

That sound of conches and other instruments became "tumula"—meaning tumultuous (great).

Thereafter, seeing his despondency, Bhishma, wishing to generate joy in him, roared like a lion, blew his conch, and

created a tumult indicative of victory using the sounds of conches and kettledrums.

Dhrtarastra said - Sanjaya said Duryodhana, after viewing the forces of Pandavas protected by Bhima, and his own forces protected by Bhisma conveyed his views thus to Drona, his teacher, about the adeacy of Bhima's forces for conering the Kaurava forces and the inadeacy of his own forces for victory against the Pandava forces. He was grief-stricken within.
Observing his (Duryodhana's) despondecny, Bhisma, in order to cheer him, roared like a lion, and then blowing his conch, made his side sound their conchs and kettle-drums, which made an uproar as a sign of victory. Then, having heard that great tumult, Arjuna and Sri Krsna the Lord of all lords, who was acting as the charioteer of Arjuna, sitting in their great chariot which was powerful enough to coner the three worlds; blew their divine conchs Srimad Pancajanya and Devadatta. Then, both Yudhisthira and Bhima blew their respective conchs separately. That tumult rent asunder the hearts of your sons, led by Duryodhana. The sons of Dhrtarastra then thought, 'Our cause is almost lost now itself.' So said Sanjaya to Dhrtarastra who was longing for their victory.
Sanjaya said to Dhrtarastra: Then, seeing the Kauravas, who were ready for battle, Arjuna, who had Hanuman, noted for his exploit of burning Lanka, as the emblem on his flag on his chariot, directed his charioteer Sri Krsna, the Supreme Lord-who is overcome by parental love for those who take shelter in Him who is the treasure-house of knowledge, power, lordship, energy, potency and splendour, whose sportive delight brings about the origin, sustentation and dissolution of the entire cosmos at His will, who is the Lord of the senses, who controls in all ways the senses inner and outer of all, superior and inferior - by saying, 'Station my chariot in an appropriate place in order that I may see exactly my enemies who are eager for battle.'