मधुसूदन! शंख, मुरज तथा भेरियोंके शब्द और उच्चस्वरसे किये हुए सिंहनाद ही सुब्रह्मण्यनाद होंगे ।। नकुल: सहदेवश्न माद्रीपुत्रौ यशस्विनौ । शामित्र तौ महावीर्यो सम्यक् तत्र भविष्यत:,माद्रीके यशस्वी पुत्र महापराक्रमी नकुल-सहदेव उसमें भलीभाँति शामित्रकर्मका सम्पादन करेंगे
Madhusūdana! śaṅkha-muraja-tathā-bherīṇāṃ śabdāḥ uccasvarena kṛtaḥ siṃhanādaś caiva subrahmaṇya-nādā bhaviṣyanti. Nakulaḥ Sahadevaś ca Mādrī-putrau yaśasvinau; śāmītra-karmāṇi tau mahā-vīryau samyak tatra kariṣyataḥ.
কৰ্ণে ক’লে—“মধুসূদন! শঙ্খৰ ধ্বনি, মুৰজৰ তাল, ভেৰীৰ গর্জন আৰু উচ্চস্বৰে উঠা সিংহনাদ—এইবোৰেই শুভ ‘সুব্ৰহ্মণ্য’ নাদ হ’ব। আৰু মাদ্ৰীৰ যশস্বী পুত্ৰ, মহাবীৰ্যবান নকুল আৰু সহদেৱে সেই সময়ত শামিত্ৰ-পদৰ সৈতে জড়িত কৰ্তব্যসমূহ বিধিমতে সম্পন্ন কৰিব।”
कर्ण उवाच
The verse frames martial sounds—conches, drums, and lion-roars—as ‘auspicious’ in a war-bound context, suggesting that even in conflict, actions are expected to be performed with propriety (samyak) and with attention to sanctioned forms (ritualized acclamation and assigned duties).
Karna addresses Krishna and describes the battlefield’s ceremonial-martial atmosphere: loud instruments and war-cries will serve as the auspicious proclamation, and he notes that Nakula and Sahadeva, Madri’s famed sons, will competently perform their designated ceremonial functions on that occasion.