Shloka 25
मārkaṇḍeya-ukta yuddha-vyūha-pratyavyūhaḥ
Battle Formations and Countermeasures in the Rāmopākhyāna
इतनेमें ही जयद्रथने आगे बढ़कर द्रौपदीकी ओढ़नीका छोर पकड़ लिया, परंतु द्रौपदीने उसे जोरका धक्का दिया। उसका धक्का लगते ही पापी जयद्रथका शरीर जड़से कटे हुए वृक्षकी भाँति पृथ्वीपर गिर पड़ा ।। प्रगृहमामाणा तु महाजवेन मुहुर्विनि:श्वस्य च राजपुत्री । सा कृष्यमाणा रथमारुरोह धौम्यस्य पादावभिवाद्य कृष्णा,फिर बड़े वेगसे उठकर उसने राजकुमारी द्रौपदीको पकड़ लिया। तब बार-बार लंबी साँसें छोड़ती हुई द्रौपदीने धौम्यमुनिके चरणोंमें प्रणाम किया, किंतु वह जयद्रथके द्वारा खींची जानेके कारण बाध्य होकर उसके रथपर बैठ गयी
itne meṃ hi jayadrathena āge baḍhkar draupadyā oḍhanīyāḥ choraḥ pragṛhītaḥ, parantu draupadī tena balavatā dhakkena nirastavatī. tasya dhakkasya prāpteḥ pāpī jayadrathaḥ chinna-mūla-vṛkṣa iva pṛthivyāṃ nipapāta. || pragṛhyamāṇā tu mahā-javena muhur viniḥśvasya ca rāja-putrī | sā kṛṣyamāṇā ratham ārurōha dhaumyasyā pādāv abhivādya kṛṣṇā ||
Just then Jayadratha rushed forward and seized the end of Draupadī’s veil. Draupadī struck him back with a powerful shove; at that blow the sinful Jayadratha fell to the ground like a tree cut at the root. Then the princess was seized again and dragged with great force; she repeatedly heaved deep breaths. Kṛṣṇā (Draupadī), after bowing at the feet of the sage Dhaumya, was compelled—being pulled along—to mount Jayadratha’s chariot.
वैशम्पायन उवाच
Educational Q&A
The passage condemns coercion and the violation of a woman’s dignity as adharma. It also highlights Draupadī’s steadfastness: even under assault she maintains reverence toward the sage, while the aggressor is explicitly marked as ‘pāpī’ (sinful), signaling moral accountability.
Jayadratha grabs Draupadī’s garment and attempts to seize her. She forcefully pushes him down, but he (or his men) again restrains and drags her; after bowing to Dhaumya, she is compelled to mount Jayadratha’s chariot, indicating abduction by force.