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Shloka 24

उत्तरो भयविषण्णः — बृहन्नडेन धैर्योपदेशः

Uttara’s Panic and Bṛhannadā’s Stabilizing Counsel

सा क्षात्रा प्रेषिता शीघ्रमगच्छन्नर्तनागृहम्‌ । यत्रास्ते स महाबाहुश्छन्न: सत्रेण पाण्डव:,भाईके भेजनेपर कुमारी उत्तरा शीघ्र नृत्यशालामें गयी, जहाँ पाण्डुनन्दन महाबाहु अर्जुन कपटवेषमें छिपकर रहते थे

sā kṣātrā preṣitā śīghram agacchannartanāgṛham | yatrāste sa mahābāhuś channaḥ strīveṣeṇa pāṇḍavaḥ ||

ولمّا أُرسلت على عَجَلٍ بأمرِ الأميرة، أسرعتِ الفتاةُ أُتَّرَا إلى قاعةِ الرقص. وهناك كان الباندفيُّ عظيمُ الساعدين (أرجونا) يقيمُ مستترًا في هيئةِ تنكّر، حافظًا للسرّ وفق نذرِ العيشِ خفيةً.

साshe (that woman)
सा:
Karta
TypePronoun
Rootतद्
FormFeminine, Nominative, Singular
क्षात्राby the Kshatriya (i.e., by the king/royal person)
क्षात्रा:
Karana
TypeNoun
Rootक्षात्र (क्षत्रिय-सम्बन्धी)
FormNeuter, Instrumental, Singular
प्रेषिताsent/ordered
प्रेषिता:
Karta
TypeVerb
Rootप्रेष्
FormFeminine, Nominative, Singular, क्त (past passive participle)
शीघ्रम्quickly
शीघ्रम्:
TypeIndeclinable
Rootशीघ्र
अगच्छत्went
अगच्छत्:
TypeVerb
Rootगम्
FormImperfect (लङ्), Third, Singular, Parasmaipada
नर्तनागृहम्the dancing-hall
नर्तनागृहम्:
Karma
TypeNoun
Rootनर्तन + गृह
FormNeuter, Accusative, Singular
यत्रwhere
यत्र:
Adhikarana
TypeIndeclinable
Rootयत्र
आस्तेsits/dwells/is
आस्ते:
TypeVerb
Rootआस्
FormPresent (लट्), Third, Singular, Atmanepada
सःhe
सः:
Karta
TypePronoun
Rootतद्
FormMasculine, Nominative, Singular
महाबाहुःthe mighty-armed one
महाबाहुः:
Karta
TypeAdjective
Rootमहाबाहु
FormMasculine, Nominative, Singular
छन्नःhidden/disguised
छन्नः:
TypeAdjective
Rootछद्
FormMasculine, Nominative, Singular, क्त (past passive participle)
स्त्रेणas/with a woman (female guise)
स्त्रेण:
Karana
TypeNoun
Rootस्त्री
FormFeminine, Instrumental, Singular
पाण्डवःthe Pandava (Arjuna)
पाण्डवः:
Karta
TypeNoun
Rootपाण्डव
FormMasculine, Nominative, Singular

उत्तर उवाच

U
Uttarā
A
Arjuna (as the concealed Pāṇḍava, Bṛhannalā)
N
nartanāgṛha (dance-hall)

Educational Q&A

The verse highlights disciplined adherence to a vow (ajñātavāsa): even a supreme warrior like Arjuna accepts concealment and restraint to protect dharma and ensure rightful outcomes, showing that ethical ends require lawful means and self-control.

Uttarā, sent by the royal lady, quickly goes to the dance-hall where Arjuna is living in disguise (as the dance-teacher Bṛhannalā), remaining hidden during the Pāṇḍavas’ incognito year.