| Kunti | |
|---|---|
| Member ofPanchakanya | |
 A 20th century painting byNandalal Bose, presumed to depict Kunti feeding thePandavas | |
| Other names | Pritha |
| Affiliation | Panchakanya |
| Gender | Female |
| Genealogy | |
| Parents | Shurasena (father Marisha (mother) Kuntibhoja (adoptive father) |
| Siblings |
|
| Spouse | Pandu |
| Children | Sons
|
| Dynasty | Yaduvamsha-Chandravamsha (by birth) Kuruvamsha-Chandravamsha (by marriage) |
Kunti (Sanskrit:कुन्ती,IAST:Kuntī), also known asPritha (Sanskrit:पृथा,IAST:Pṛthā), is a prominent character in theMahabharata, an ancientSanskrit epic poem. A princess of theVrishni dynasty, she becomes the wife ofPandu, king of theKuru Kingdom, and is chiefly known as the mother of the fivePandavas—having given birth to the three eldest,Yudhishthira,Bhima, andArjuna—and raising their younger stepbrothers,Nakula andSahadeva, as her own.
Kunti is one of the few female figures in the epic whose early life is described in detail. Born toShurasena, she is adopted by her childless uncle,Kuntibhoja, and during her adolescence, she receives a divine mantra from the sageDurvasa, which allows her to invoke any deity and bear a child by them. Out of curiosity, she uses the mantra to invoke the sun godSurya, resulting in the concealed birth of her first son,Karna. Due to the societal stigma surrounding childbirth outside of marriage, she abandons Karna shortly after his birth.
Kunti plays a significant role in theKuru dynasty. After marrying Pandu, who is cursed to die instantly if he engages in intercourse, Kunti uses her boon to bear Yudhishthira, Bhima, and Arjuna by invoking the godsDharma,Vayu, andIndra, in accordance with Pandu’s request to have children through the practice ofniyoga. She later shares the boon with her co-wife,Madri, who gives birth to Nakula and Sahadeva. Following Pandu’s death and Madri’sself-immolation, Kunti assumes responsibility for all five children and raises them inHastinapura, the capital of the Kuru Kingdom. A misunderstanding on Kunti’s part results in the polyandrous marriage ofDraupadi, the princess ofPanchala, to all five Pandava brothers. Kunti then serves as the queen-mother ofIndraprastha until the Pandavas are exiled. Prior to theKurukshetra War, Kunti meets Karna, who had joined the opposingKaurava side, and discloses his true parentage, urging him to join the Pandava side. Although Karna refuses to switch allegiance, he agrees to spare all of Kunti’s sons except Arjuna. Following the Pandavas’ victory, Kunti reveals Karna’s identity to them and later retires to the forest with other elders of the Kuru dynasty and eventually dies in a forest fire.
Within Hindu tradition, Kunti is venerated as one of thepanchakanya ("five maidens"), embodying ideals of female chastity. Her name is believed to possess purifying qualities, capable of dispelling sin when recited. Kunti is lauded as the epitome of dutiful womanhood, noted for her intelligence, beauty, foresight and political acumen.
Kunti appears in theMahabharata, one of theSanskrit epics originating from theIndian subcontinent, which primarily narrates about conflict between two groups of cousins—thePandavas and theKauravas. Composed inClassical Sanskrit, the text is a composite work shaped through centuries of revisions, editing, and interpolations. The text is primarily composed between 300 BCE - 300 CE, with the oldest portions of the extant text likely date to around 400 BCE.[1] Manuscripts of theMahabharata exist in numerous versions, with substantial variations in the details of key characters and events. An exception is the section containing theBhagavad Gita, which remains notably consistent across different manuscripts.[2] Significant differences exist between the Northern and Southern recensions, with the Southern versions generally being more elaborate and extended. Scholars have undertaken the creation of acritical edition, primarily drawing from the "Bombay", "Poona", "Calcutta", and "South Indian" editions of the text. The most widely accepted version is that compiled by a team led byVishnu Sukthankar at theBhandarkar Oriental Research Institute, with copies preserved atKyoto University,Cambridge University, and various institutions across India.[3]
Quickly after her introduction in theAdi Parva—the first of the eighteen books of theMahabharata—Kunti emerges as a foundational female figure whose narrative significance sets her apart from her contemporaries, playing a central role in shaping the future course of the epic. Early in the royal genealogies, as Bhishma arranges the marriages intended to restore the Kuru lineage, three women—Gandhari, Kunti, andMadri—are brought into focus. ScholarAlf Hiltebeitel points out that it is Kunti who quickly becomes the "rising star" of the narrative skein that spans chapters 103 to 119. Kunti is uniquely privileged in this section of the text. While Gandhari and Madri are introduced more briefly, an entireadhyaya (chapter 104) is devoted to Kunti’s childhood—making her the only woman marrying into a central royal line in either theMahabharata or theRamayana whose girlhood is explored in such depth. Quantitative evidence from this narrative arc underscores Kunti’s prominence: between chapters 103.9 and 119.12, the text allocates 195 verses to Kunti, compared to 85 for Madri and just 36 for Gandhari.[4] According toJames L. Fitzgerald, Kunti's main scenes in theMahabharata all involve her premarital sonKarna,[5] and within the epic, which follows thestory within a story style of narration, the account of Kunti's origin and Karna's birth has been narrated multiple times, with the most detailed one being found in theVana Parva (3.287.1-3.292.1).[6]
Pradeep Bhattacharya observes that Kunti’s pivotal decision in the later part of theAdi Parva—having her sons shareDraupadi—not only influences the trajectory of the plot but also marks a transition in the epic’s focus from Kunti to Draupadi as the central female figure in the following books. Kunti remains largely in the background following theAdi Parva until theUdyoga Parva, the fifth book of theMahabharata. Here, she re-emerges duringKrishna’s peace mission, having multiple dialogues while blessing Yudhishthira and pursuing Karna, who has aligned himself with the Kauravas, to join the Pandava side.[7] In last part of the eleventh book,Stri Parva, Kunti—who has remained the most reticent among the epic’s principal female figures afterKurukshetra war—finally speaks up to reveal Karna's true lineage to the Pandavas.[5] She exits the main narrative in theAshramavasika Parva, the fifteenth book.[3]
The feminine epithetKuntī (Sanskrit: कुन्ती) is apatronymic derivative, which the character acquired through her adoption by Kunti-bhoja.[8] The epithet has its roots in the masculine nounKunti (कुन्ति), which originally referred to a group of people. This ethnonym appears in classical Sanskrit texts such as theKathaka Samhita,Pāṇini’sAṣṭādhyāyī (4.1.176), and theMahabharata. The male variant of the epithet is also used to denote rulers or princes of this lineage.[9]
Kunti's original name isPṛthā (Sanskrit: पृथा). According to scholarAlf Hiltebeitel, this name means 'the Wide', evoking both the goddessPṛthivī (lit. 'the Broad Earth') and the description of her as a girl with "wide eyes" in theMahabharata (3.287.12), reinforcing a symbolic alignment with the vastness and nurturing aspect of the Earth.[8]Madeleine Biardeau observes that while other prominent women in the epic—such asGandhari ('Woman ofGāndhāra') andMadri ('Woman ofMadra')—derive their identities from specific geographic regions, Kunti’s name Pritha links her to the Earth as a whole, not to any one territory.[10]
From a lexical standpoint, linguistMonier-Williams derivesPṛthā from the rootpṛtha, related topṛth, and suggest that it can also mean “the flat or palm of the hand', attested in texts such as theŚatapatha Brāhmaṇa.[11] Building on this, sociologistIrawati Karve interpreted the name to suggest a physical characteristic, writing that it "shows that she was apparently a large big-boned girl". However, Lavanya Vemsani contests Karve’s interpretation, arguing that there is neither linguistic nor textual justification for linking the meaning "palm" to Kunti’s body type. Vemsani emphasizes that theMahabharata explicitly describes Kunti as a woman of stunning beauty, and instead interprets the palm symbolism as reflecting her supportive hand and steadfast nature, aligning it with broader themes of motherhood and nurturing stability.[12]
Kunti, originally named Pritha, is born into the lineage of theYadava clan. She is the eldest child ofShurasena, a chief among the Yadavas and the father of several other children, most notablyVasudeva, the father ofKrishna.[8][13][note 1] Shurasena had promised to give his eldest child to his childless cousin and close friend,Kuntibhoja, who was the son of Shurasena’s paternal aunt. As a result, Pritha is given in adoption by Shurasena to Kuntibhoja.[8][note 2] Following the adoption, Pritha becomes known as Kunti and is raised in the royal household of Kuntibhoja, where she is trained in royal duties and received instruction in various disciplines, without a maternal presence. Later in life, Kunti reveals that she resents this act of adoption, recalling that she was merely playing with a ball when her father transferred her like wealth, and she felt humiliated by this decision of her family.[8][13]
During her adolescence, Kuntibhoja entrusts her to the care of the powerful and temperamental sageDurvasa, who arrives at the court seeking hospitality under strict conditions. Kuntibhoja, confident in his daughter's humility and devotion, promises that she will serve him faithfully. Aware of the potential consequences of offending such a volatile figure, Kuntibhoja sternly warns Kunti that any lapse in service could bring dishonour upon both his dynasty and her birth family. Despite the pressure, Kunti submits to her duties with remarkable discipline, attending to the sage with devotion, enduring his sharp speech and frequent criticisms without complaint. Over the course of a year, Kunti’s service gradually earns the satisfaction of the sage. Eventually, Durvasa offers her a boon. Though she initially expresses contentment in having pleased both him and her father, she ultimately accepts his insistence on granting her amantra (incantation). The mantra enables her to summon any deity, who is then bound to appear and obey her command, whether willingly or not. Compelled by fear of his curse, she receives the spell. Following this, Durvasa departs, leaving Kuntibhoja astonished and deeply gratified by his daughter’s endurance and virtue.[13][16]
Driven by a mixture of curiosity and youthful impulsiveness, she decides to test themantra shortly after her first menstruation. Observing the radiant form of the sun at dawn, she invokesSurya, the sun god. Surya appears, assuring Kunti that refusal is impossible, as a summoned deity must not return unsatisfied. Though she pleads with him to depart, declaring herself still an unmarried girl, Surya insists. He attempts to allay her fears by promising that her virginity will remain intact and that their son will be born with divine qualities.
Compelled by divine persuasion and desire for Surya, Kunti consents under the condition that her son resembles his celestial father. Thus, Kunti becomes pregnant, which she hides from everyone. When the son is born, Surya's promise is fulfilled:Karna is born with golden armor and earrings, divine gifts signifying his celestial origin. Despite the miracle, Kunti, terrified of social shame and her family's disapproval, places the newborn in a basket and sets him adrift on the Ashvanadi river, lamenting the fate of the child and the unknown woman who would raise him.
Karna is discovered and adopted by a charioteerAdhiratha and his wifeRadha, while Kunti returns to the palace, burdened with grief and secrecy. She remains akanya—a virgin girl—both in body and status, as Surya’s divine power leaves her visibly untouched, preserving her social reputation.
Kuntibhoja organised Kunti'sswayamvara. Kunti chose KingPandu ofHastinapur, making her the Queen of Hastinapur.[7][17] Soon after, during his mission to expand his empire, Pandu, on Bhishma's proposal, marriedMadri, a princess ofMadra in order to secure the vassalage ofMadra.[7] Kunti was disturbed by her husband's actions, but eventually reconciled with him and treated Madri as a sister.
Pandu, while hunting in a forest, mistakenly shot and killed Rishi Kindama and his wife as they had taken the form ofdeer to mate. The dying sage then cursed him to die if he tries to embrace or touch his wives. Pandu renounced the kingdom and went into exile with Kunti and Madri.[18]
Pandu could not sire children with his wives due to the curse by sageKindama. A remorseful Pandu met some sages and asked them a way for heaven and salvation. They said, without children, one can never aspire for heaven. When Pandu expressed to Kunti his despair at the prospect of dying childless, she mentioned the boon granted to her. He happily advised her to beget children by suitable, illustrious men. Thus, Kunti used the boon granted to her by SageDurvasa to bear three sons—Yudhishthira byDharmaraja –god of Justice;Bhima byVayu – god ofwind, andArjuna byIndra – the king ofSvarga (Heaven). She also invokedAshvins for Madri on her behest and Madri gave birth to twin sons,Nakula andSahadeva.[19][20]
Kunti gave special care to Madreyas (sons of Madri) especially Sahadeva, the youngest one. Madri gave tribute to Kunti by saying
"You are blessed.There is none like youyou are my light,my guide,most respect-worthy,reater in status,purer in virtue."[7]
One day, Pandu, forgetting his curse, attempted to embrace his wife Madri. But, as a result of Kindama's curse, he died. Madri committed suicide out of remorse that caused her husband's death. Kunti was left helpless in the forest with her children.[21]
After the death of Pandu and Madri, Kunti took care of all five Pandava children taking them back to Hastinapur. Dhritrashtra's sons never liked them. During their childhood,Duryodhana poisoned and tried to kill Bhima but he was saved. Kunti was hurt by this but was consoled byVidura. Later the Kuru princes were sent to train underDrona.[22]
After the princes finished their training, they returned to Hastinapura. After some timeDuryodhana and his maternal uncleShakuni tried to burn Pandavas alive along with Kunti for which they built the palace out of lac (Lakshagriha) in a village named Varanāvata. The Pandavas, though, managed to escape the house of lac with the help ofVidura through a secret tunnel.[23]
After surviving from the Lakshagriha Kunti and five Pandavas lived inEkachakra village.[24] During their stay, Kunti and the Pandavas become aware of a demon,Bakasura, who ate people. Villagers had to send one member of their family and food to Bakasura, who devour both. When Kunti heard the cries of a Brahmin – who had provided her and her son's shelter in Ekachakra, Kunti consoled him and suggested that instead of a Brahmin's family, her son Bhima would face the demon. Kunti engineered a plot where Bhima would be able to face and kill the demon. The powerful Bhima brought his might to the fore and defeated Bakasura.[25]Later, Bhima slays therakshasaHidimba and he is beseeched byHidimbi, Hidimba's sister, to wed her. Bhima is reluctant, but Kunti ordered Bhima to marry Hidimbi seeing merit in the woman. Hidimbi would go on to birthGhatotkacha, who later takes part in theKurukshetra War.[citation needed]
The Pandavas attended theswayamvara ofDraupadi inPanchala.Arjuna was able to winDraupadi's hand. The Pandavas returned to their hut and said that they have bought alms (signifyingKanyadan). Kunti misunderstood them and asked the Pandavas to share whatever they had brought. Kunti was shocked after realizing the implications of her words, that is, all of thePandavas marriedDraupadi thinking that they are obeying their mother's orders. Therefore, she scolded her children for treating a woman like alms. However, Draupadi accepted this as her fate.[26]
When Kunti, along with the Pandavas and Draupadi, returned to Hastinapura, they faced many problems including succession dispute between Yudhishthira and Duryodhana. On the advice ofBhishma, Pandavas were given a barren land to rule which was developed intoIndraprastha.[27]
When the Pandavas lose the kingdom in a dice game and are forced to go into exile for thirteen years, Kunti is forced by King Dhritarashtra to remain in the capital. She chose to stay inVidura's house rather than the royal palace.[28]
As war approached, Kunti metKarna and in desperation to keep her all children alive, asked Karna to leave the side ofDuryodhana and join the Pandavas. Karna denied the offer, as he could not betray his friend. However, he promised Kunti that he would not kill any of his brothers except Arjuna, thus following both Mitra dharma and Putra dharma. He also promised that at the end of the war she would still have five sons, the fifth one be either Arjuna or Karna himself.[29][page needed]
Despite supporting her children, Kunti stayed in theKaurava camp along with her sister-in-lawGandhari. After the death of Karna, Kunti disclosed the secret of Karna's birth to the Pandavas. A grief-stricken Yudhisthira would curse the women of the world that they shall be unable to keep any secret anymore.[30]
After theKurukshetra war, Kunti lived with her sons for many years. After she felt that her job in the world was over, she moved to a forest near the Himalayas with her brothers-in-lawVidura andDhritarashtra,Sanjaya and Dhritarashtra's wifeGandhari. Vidura died two years after they left. Later Sanjaya left for the Himalayas and those remaining perished in a forest fire.[7][31]
According toJ. A. B. van Buitenen, translator of the Critical Edition, Kunti is depicted largely self-effacing, conforming to her role as wife and mother, though she asserts herself at key moments.[32]
Pradip Bhattacharya, a scholar of theMahabharata and author ofPanchakanya: "One-in Herself" Why Kunti Remains a Kanya, highlights her as a symbol of strong womanhood, noting her resolve, adaptability, and the critical role she played in her sons’ lives. Kunti’s agency is first demonstrated in her selection ofPandu at hersvayamvara and her subsequent loyalty in following him into exile, despite his marriage toMadri. When Pandu requests that Kunti conceive sons through other men, she initially resists, revealing her personal integrity and resolve. She ultimately agrees, however, the choice of divine progenitors is not hers; it rests with Pandu, underlining the limitations of her autonomy within her marriage. Bhattacharya emphasizes her strength and strategic wisdom in managing this role, as she conceals her pre-marital son,Karna, to safeguard Pandu’s honor and to preserve her reputation within the royal household. This contrasts her with her grandmother-in-law,Satyavati, who called upon her pre-marital sonVyasa to extend the royal line of Hastinapura without hesitation. Her refusal to bear a fourth child, invoking scripture as justification, showcases her deep understanding ofdharma, which she uses both to assert her autonomy and to protect her dignity.[7]
Within the complex social structure of the Hastinapura court, Kunti carefully navigates adversities, often relying on her confidantVidura. Bhattacharya highlights her strategic acumen in orchestratingDraupadi’s marriage to all five Pandavas, ensuring unity among her sons and forestalling potential conflicts. This decision, based on customs of the “northern Kurus,” is portrayed as a calculated move that consolidates family loyalty by centering it around a single wife, underscoring Kunti’s commitment to her sons’ shared purpose. Her pragmatism as a mother is further reflected in her morally complex actions to protect her family’s welfare, as seen in her plea to Karna before the war, where she secures his promise to spare all the Pandavas except Arjuna. Though Karna rejects her, Kunti’s determination to shield her sons from harm exemplifies her selfless devotion and emotional resilience.[7]
Kunti’s final retreat to the forest withDhritarashtra andGandhari, after her sons’ victory, symbolises a profound act of renunciation. Bhattacharya interprets this as Kunti’s transcendence beyond worldly attachments and family ties, an act that affirms her as a “kanya” or “one-in-herself”—a woman who has achieved independence of spirit and self-possession. Through this retreat, Kunti’s life comes full circle, as she embodies the archetype of the empowered single mother who navigates the vicissitudes of life with resilience and fortitude.[7]
{{cite book}}: CS1 maint: publisher location (link)
Definitions from Wiktionary
Media from Commons
Quotations from Wikiquote| Traditional author and narrators |  | |
|---|---|---|
| Books (parvas) | ||
| Kingdoms and Tribes | ||
| Major Events | ||
| Characters | ||
| Related | ||
| International | |
|---|---|
| National | |
| Other | |
