Shloka 17
Virāṭa-parva Adhyāya 22 — Draupadī’s Abduction Attempt and Bhīma’s Suppression of the Kīcakas
द्रौोपदीने कहा--कीचक! मत्स्यराजने यह जो नृत्यशाला बनवायी है, उसमें दिनके समय कन्याएँ नृत्य करती हैं तथा रातमें अपने-अपने घर चली जाती हैं ।। तमिस्तरे तत्र गच्छेथा गन्धर्वास्तन्न जानते । तत्र दोष: परिहृतो भविष्यति न संशय:,वहाँ अँधेरा रहता है, अतः मुझसे मिलनेके लिये वहीं जाना। उस स्थानको गन्धर्व नहीं जानते। वहाँ मिलनेसे सब दोष दूर हो जायगा; इसमें संशय नहीं है
Draupady uvāca—Kīcaka! matsyarājena yā nṛtyaśālā kāritā, tasyāṁ divā kanyā nṛtyanti, rātrau ca sva-sva-gṛhān gacchanti. Tamas-tare tatra gacchethāḥ; gandharvāḥ tan na jānate. Tatra doṣaḥ parihṛto bhaviṣyati, na saṁśayaḥ.
Draupadī sagte: „Kīcaka, in dieser Tanzhalle, die König Matsya erbauen ließ, tanzen die Mädchen am Tage und kehren nachts in ihre Häuser zurück. Geh dorthin zur dunkelsten Stunde. Die Gandharvas kennen diesen Ort nicht. Treffen wir uns dort, wird jeder Vorwurf abgewendet—daran besteht kein Zweifel.“
कीचक उवाच
Educational Q&A
The passage highlights how social blame (doṣa) and public perception can be manipulated by the powerful, and how the vulnerable may resort to strategic speech to protect dignity and safety. It also frames ethical tension: Draupadī’s words are a calculated ruse to avert immediate danger and set conditions for rightful protection, showing prudence under oppression rather than consent.
Kīcaka is pursuing Draupadī while the Pāṇḍavas live incognito in King Virāṭa’s palace. Draupadī, invoking the idea of ‘Gandharvas’ as her protectors, directs Kīcaka to come at deep night to the dance-hall, claiming it is unknown to the Gandharvas and thus free from scandal. In the broader episode, this arrangement becomes the setup for Bhīma to confront and punish Kīcaka.