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Shloka 60

Kaurava Mobilization at Kurukṣetra (Duryodhana Orders War Preparations) / कुरुक्षेत्रे धार्तराष्ट्र-सैन्यसज्जा

उपप्लव्ये तु पाञ्चाली द्रौपदी सत्यवादिनी । सह स्त्रीभिर्निववृते दासीदाससमावृता

upaplavyē tu pāñcālī draupadī satyavādinī | saha strībhiḥ nivavṛte dāsīdāsasamāvṛtā ||

Then, at Upaplavya, Pāñcālī Draupadī—renowned for speaking truth—returned along with the women, surrounded by maidservants and attendants. The narration highlights her dignified conduct and steadfast truthfulness even amid royal movement and the tensions preceding war.

उपप्लव्येin Upaplavya
उपप्लव्ये:
Adhikarana
TypeNoun
Rootउपप्लव्य (नगरनाम)
FormNeuter, Locative, Singular
तुbut/indeed
तु:
TypeIndeclinable
Rootतु
पाञ्चालीthe Panchala princess (Draupadi)
पाञ्चाली:
Karta
TypeNoun
Rootपाञ्चाली
FormFeminine, Nominative, Singular
द्रौपदीDraupadi
द्रौपदी:
Karta
TypeNoun
Rootद्रौपदी
FormFeminine, Nominative, Singular
सत्यवादिनीtruth-speaking
सत्यवादिनी:
TypeAdjective
Rootसत्यवादिन्
FormFeminine, Nominative, Singular
सहtogether with
सह:
TypeIndeclinable
Rootसह
स्त्रीभिःwith women
स्त्रीभिः:
Karana
TypeNoun
Rootस्त्री
FormFeminine, Instrumental, Plural
निववृतेreturned/turned back
निववृते:
TypeVerb
Rootनि + वृत्
FormPerfect (Liṭ), 3rd, Singular, Ātmanepada
दासीby/with maidservants (female slaves)
दासी:
Karana
TypeNoun
Rootदासी
FormFeminine, Instrumental, Plural
दासby/with servants (male slaves)
दास:
Karana
TypeNoun
Rootदास
FormMasculine, Instrumental, Plural
समावृताsurrounded/encircled
समावृता:
TypeAdjective
Rootसम् + आ + वृत्
FormFeminine, Nominative, Singular, क्त (past passive participle)

वैशम्पायन उवाच

V
Vaiśampāyana
D
Draupadī
P
Pāñcāla (as epithet: Pāñcālī)
U
Upaplavya
W
women attendants (striyaḥ)
M
maidservants and servants (dāsī-dāsa)

Educational Q&A

The verse foregrounds satya (truthfulness) as a defining virtue: Draupadī is explicitly marked as satyavādinī, suggesting that ethical steadiness and truthful speech remain central even in politically charged, pre-war circumstances.

Vaiśampāyana narrates that Draupadī, the Pāñcāla princess, is at Upaplavya and then returns with the women of her retinue, attended by servants—depicting a formal royal movement and her composed presence within the household and courtly setting.