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Shloka 11

अध्याय ९१ — शैनेयस्य गजानीकभेदनं जलसंधवधश्च

Chapter 91: Sātyaki breaks the elephant array and slays Jalasaṃdha

ततः कबन्धं किंचित्‌ तु धनुरालम्ब्य तिष्ठति । किंचित्‌ खड्गं विनिष्कृष्य भुजेनोद्यम्य तिषछतति,कोई-कोई कबन्ध (बिना सिरका धड़) धनुष लेकर खड़ा था और कोई तलवार खींचकर उसे हाथमें उठाये खड़ा हुआ था

tataḥ kabandhaṃ kiñcit tu dhanurālambya tiṣṭhati | kiñcit khaḍgaṃ viniṣkṛṣya bhujenodyamya tiṣṭhati ||

Sañjaya said: Then some headless trunks stood, bracing themselves upon their bows, while others, having drawn their swords, stood with their arms raised.

ततःthen/thereupon
ततः:
Adhikarana
TypeIndeclinable
Rootततः (तद्-प्रातिपदिकात्)
FormAvyaya (indeclinable adverb)
कबन्धम्a headless trunk (kabandha)
कबन्धम्:
Karma
TypeNoun
Rootकबन्ध
FormMasculine, Accusative, Singular
किञ्चित्some (someone/some of them)
किञ्चित्:
Karta
TypeIndeclinable
Rootकिञ्चित् (किम् + चित्)
FormAvyaya (indeclinable quantifier)
तुbut/indeed
तु:
TypeIndeclinable
Rootतु
FormAvyaya (particle)
धनुःbow
धनुः:
Karma
TypeNoun
Rootधनुस्
FormNeuter, Accusative, Singular
आलम्ब्यhaving grasped/holding onto
आलम्ब्य:
TypeVerb
Rootआ-लम्ब्
FormAbsolutive (क्त्वा/ल्यप्), indeclinable; prior action
तिष्ठतिstands
तिष्ठति:
TypeVerb
Rootस्था (तिष्ठ-)
FormPresent tense, Parasmaipada, 3rd person, Singular
किञ्चित्some (someone/some of them)
किञ्चित्:
Karta
TypeIndeclinable
Rootकिञ्चित् (किम् + चित्)
FormAvyaya (indeclinable quantifier)
खड्गम्sword
खड्गम्:
Karma
TypeNoun
Rootखड्ग
FormMasculine, Accusative, Singular
विनिष्कृष्यhaving drawn out
विनिष्कृष्य:
TypeVerb
Rootवि-निस्-√कृष्
FormAbsolutive (क्त्वा/ल्यप्), indeclinable; prior action
भुजेनwith the arm
भुजेन:
Karana
TypeNoun
Rootभुज
FormMasculine, Instrumental, Singular
उद्यम्यhaving raised/lifted
उद्यम्य:
TypeVerb
Rootउद्-यम्
FormAbsolutive (क्त्वा/ल्यप्), indeclinable; prior action
तिष्ठतिstands
तिष्ठति:
TypeVerb
Rootस्था (तिष्ठ-)
FormPresent tense, Parasmaipada, 3rd person, Singular

संजय उवाच

S
Sañjaya
K
kabandha (headless trunks)
D
dhanuḥ (bow)
K
khaḍga (sword)

Educational Q&A

The verse highlights the horrific momentum of war: even the dead appear frozen in fighting postures, prompting reflection on the ethical cost of violence and the fragility of embodied life amid claims of righteous warfare.

Sañjaya describes a gruesome battlefield scene where headless bodies (kabandhas) are seen standing—some propped on bows, others with swords drawn and arms raised—emphasizing the intensity and carnage of the ongoing combat.