Previous Verse
Next Verse

Shloka 27

Sauptika Parva, Adhyaya 8 — Dhṛṣṭadyumna-vadha and the Camp’s Nocturnal Rout

अध्यतिष्ठत तेजस्वी रथं प्राप्प सुदर्शनम्‌ स तस्य भवनादू राजन्‌ निष्क्रम्यानादयन्‌ दिश:

adhyatiṣṭhat tejasvī rathaṃ prāpya sudarśanam | sa tasya bhavanād rājann niṣkramyānādayan diśaḥ ||

Sañjaya said: The radiant warrior mounted his splendid, fair-seeming chariot. Then, O King, coming out from that residence, he set forth, steering his course toward the quarters, with grim purpose as the night’s work of war was about to unfold.

अध्यतिष्ठत्mounted / stood upon
अध्यतिष्ठत्:
TypeVerb
Rootअधि-स्था (स्था धातु)
Formलङ् (Imperfect), 3, Singular, Parasmaipada
तेजस्वीthe radiant one
तेजस्वी:
Karta
TypeAdjective
Rootतेजस्विन् (प्रातिपदिक)
FormMasculine, Nominative, Singular
रथम्chariot
रथम्:
Karma
TypeNoun
Rootरथ (प्रातिपदिक)
FormMasculine, Accusative, Singular
प्राप्यhaving reached / having obtained
प्राप्य:
TypeVerb
Rootप्र-आप् (आप् धातु)
Formल्यप् (absolutive/gerund), Parasmaipada (usage)
सुदर्शनम्beautiful to behold / well-appearing
सुदर्शनम्:
Karma
TypeAdjective
Rootसुदर्शन (प्रातिपदिक)
FormMasculine, Accusative, Singular
सःhe
सः:
Karta
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
FormMasculine, Nominative, Singular
तस्यof him / his
तस्य:
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
FormMasculine/Neuter, Genitive, Singular
भवनात्from the house/palace
भवनात्:
Apadana
TypeNoun
Rootभवन (प्रातिपदिक)
FormNeuter, Ablative, Singular
राजन्O king
राजन्:
TypeNoun
Rootराजन् (प्रातिपदिक)
FormMasculine, Vocative, Singular
निष्क्रम्यhaving gone out
निष्क्रम्य:
TypeVerb
Rootनिस्-क्रम् (क्रम् धातु)
Formल्यप् (absolutive/gerund), Parasmaipada (usage)
आददत्took / seized
आददत्:
TypeVerb
Rootआ-दा (दा धातु)
Formलङ् (Imperfect), 3, Singular, Parasmaipada
दिशःthe directions
दिशः:
Karma
TypeNoun
Rootदिश् (प्रातिपदिक)
FormFeminine, Accusative, Plural

संजय उवाच

S
Sañjaya
D
Dhṛtarāṣṭra
R
ratha (chariot)
D
diśaḥ (the quarters/directions)
B
bhavana (residence)

Educational Q&A

The verse highlights decisive action powered by tejas (martial energy), while the surrounding Sauptika narrative frames such energy within the ethical darkness of nocturnal violence—suggesting that prowess and resolve, when yoked to adharma, lead toward grievous consequences.

Sañjaya reports that the warrior mounts a splendid chariot and departs from a residence, setting out toward the directions—marking a transition into movement and impending action in the night-time events of the Sauptika Parva.