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Shloka 18

द्रौपदी-भीमसेनसंवादः

Draupadī–Bhīmasena Dialogue on Suffering, Kāla, and Daiva

जिसकी परिघ (लोहदण्ड)-के समान मोटी भुजाएँ प्रत्यण्जा खींचते-खींचते कठोर हो गयी थीं, वही धनंजय आज हाथोंमें शंखकी चूड़ियाँ पहनकर दु:ख भोग रहा है ।।

yasya jyātalanirghoṣāt samakampanta śatravaḥ | striyo gītasvanaṃ tasya muditāḥ paryupāsate ||

Vaiśampāyana said: He whose bowstring’s thunder once made all enemies tremble—today the women of the inner apartments listen with delight to the sound of his singing. Thus Dhanañjaya, famed for martial might, endures the sorrow of concealment and reversal of fortune, bearing humiliation for the sake of dharma and the pledged conditions of exile.

यस्यwhose
यस्य:
Sambandha
TypePronoun
Rootयद्
FormMasculine/Neuter, Genitive, Singular
ज्या-तल-निर्घोषात्from the loud twang of the bowstring (on the bow)
ज्या-तल-निर्घोषात्:
Apadana
TypeNoun
Rootज्या + तल + निर्घोष
FormMasculine, Ablative, Singular
समकम्पन्तtrembled
समकम्पन्त:
Kriya
TypeVerb
Rootसम् + कम्प्
FormImperfect (Lan), 3rd, Plural, Parasmaipada
शत्रवःenemies
शत्रवः:
Karta
TypeNoun
Rootशत्रु
FormMasculine, Nominative, Plural
स्त्रियःwomen
स्त्रियः:
Karta
TypeNoun
Rootस्त्री
FormFeminine, Nominative, Plural
गीत-स्वनम्the sound of (his) singing
गीत-स्वनम्:
Karma
TypeNoun
Rootगीत + स्वन
FormMasculine, Accusative, Singular
तस्यof him / his
तस्य:
Sambandha
TypePronoun
Rootतद्
FormMasculine/Neuter, Genitive, Singular
मुदिताःdelighted
मुदिताः:
Karta
TypeAdjective
Rootमुदित
FormFeminine, Nominative, Plural
पर्युपासतेattend upon / wait upon
पर्युपासते:
Kriya
TypeVerb
Rootपरि + उप + आस्
FormPresent (Lat), 3rd, Plural, Atmanepada

वैशम्पायन उवाच

V
Vaiśampāyana
D
Dhanañjaya (Arjuna)
Ś
śatravaḥ (enemies)
S
striyaḥ (women of the inner apartments/antaḥpura)
J
jyā (bowstring)
D
dhanuḥ (bow, implied)

Educational Q&A

The verse highlights dharmic endurance: even the mightiest warrior accepts concealment and apparent dishonor when duty and a vowed condition require it. True strength includes self-restraint and fidelity to one’s pledge, not merely battlefield prowess.

During the Pāṇḍavas’ incognito year in Virāṭa’s kingdom, Arjuna (Dhanañjaya) lives in disguise, associated with the women’s quarters and performing arts rather than warfare. The narrator contrasts his former fearsome martial reputation—his bowstring’s roar shaking enemies—with his present role, where palace women happily listen to his singing.