In strange contrast with the bulky tomes of Brahmanism and of the great epic, Mahabharata (which, with its two hundred and forty thousand lines, is the longest epic ever written, being eight times as long as the Odyssey and the Iliad put together), the Bhagavad Gita contains only seven hundred slohams, and is not as long as the Gospel of St. Mark.

The date of the origin of the Song is very much disputed. There are Hindu authorities who would carry it back to the fifth century B.C., the time which is assigned for the first recension of the Mahabharata, of which the Bhagavad Gita is a very small part. But the highest authorities find conclusive proof that it originated about the second or third century of our era, and was then inserted as a part of an episode in the narrative of the great epic.

The Mahabharata is a great poetic narrative of a conflict between the two branches of the Bharata family—the Pandavas and the Kauravas—for the petty kingdom of Hastinapura, near the modern city of Delhi.

The two forces are already, in counter array, eager for the fray on the battle-field of Kuruchetra. The call to battle has already been blown upon the miraculous conchs of the leaders of both sides, who are seated in their chariots drawn by white horses. Over each one waves his personal ensign. Arjuna, the noblest of the five brave Pandava leaders, is a man of heroic traits of character; and yet within him breathes the tenderest sentiment of humanity. He pauses a moment ere he leads his mighty hosts against the enemy; and, as he looks upon his own kith and kin in the opposing ranks, he is overcome by the stern voice of conscience blending with humanitarian impulses. Is it right, can it possibly be right, for him to go forth to destroy his own friends and relatives; shall he shed the blood of those who are nearest and dearest to him upon the earth? This is the agonizing doubt which seizes upon him at this time. And in his distress he turns to his friend and relative, Krishna, who has declined to participate in the war, but who had volunteered to act as Arjuna's charioteer. And he says unto him: "Seeing these kinsmen, O Krishna, standing (here) desirous to engage in battle, my limbs droop down; my mouth is quite dried up; a tremor comes on my body; and my hairs stand on end; the Gandiva (bow) slips from my hand; my skin burns intensely; I am unable, too, to stand up; my mind whirls round, as it were. Even those for whose sake we desire sovereignty, enjoyments, and pleasures, are standing here for battle, abandoning life and wealth—preceptors, fathers, sons as well, grandfathers, maternal uncles, fathers-in-law, grandsons, brothers-in-law, as also other relatives. These I do not wish to kill, though they kill me, O destroyer of Madhu! even for the sake of sovereignty over the three worlds, how much less than for this earth (alone)?"

Krishna replied, with a view to soothe Arjuna's perturbed mind, and to urge him on to battle.

It is this dialogue between the hero and the god which constitutes the Bhagavad Gita. And yet one can hardly call it a dialogue, since Krishna's remarks make up more than nine-tenths of the book.

The dialogue is one of the favourite forms of Hindu literature. Most of the Puranas and the Tantras are cast in that form.

It seems very strange that this book, which is the favourite exponent of a faith whose very essence is non-resistance, whose genius is to inculcate the passive virtues, should have found its motive in the purpose of the god Krishna to overcome, in the warrior Arjuna, those worthy, humane sentiments of peace and kindness and that noble resolution to forego even the kingdom rather than to acquire it through the shedding of the blood of his relatives. How incongruous to build up the lofty structure of a faith upon so unethical, unsocial, and cruel a foundation!