Shloka 2
Sauptika-parva Adhyāya 13 — Bhīmasena’s Pursuit of Drauṇi and the Release of a Divine Astra
उसमें सोनेकी माला पहने हुए अच्छी जातिके काबुली घोड़े जुते हुए थे। उस श्रेष्ठ रथकी कान्ति उदयकालीन सूर्यके समान अरुण थी। उसकी दाहिनी धुरीका बोझ शैव्य ढो रहा था और बायींका सुग्रीव। उन दोनोंके पार्श्वभागमें क्रमश: मेघपुष्प और बलाहक जुते हुए थे
tasmin suvarṇamālābharaṇe rathavare śubrajātīyāḥ kābulīyā aśvā yuktāḥ sma | tasya rathasya kāntir udayakālasūryasadṛśī aruṇā āsīt | tasya dakṣiṇāyāṃ dhurīyāṃ bhāraṃ śaivyaḥ vahati sma vāmyāṃ sugrīvaḥ | tayoḥ pārśvabhāgeṣu kramāt meghapuṣpo balāhakaś ca yuktau |
Vaiśampāyana dijo: «Aquel carro excelente estaba uncido a caballos de Kabul, de noble estirpe, adornados con una guirnalda de oro. Su resplandor era bermejo como el sol naciente. El peso del yugo derecho lo llevaba Śaivya y el del izquierdo, Sugrīva; y a sus flancos, en el orden debido, iban uncidos Meghapuṣpa y Balāhaka.»
वैशम्पायन उवाच
Educational Q&A
The verse does not state a direct moral maxim; instead it uses vivid martial imagery to underscore how external grandeur (a radiant chariot, noble horses) can accompany actions and events unfolding in a morally dark context—reminding the reader to judge by dharma rather than by splendor.
Vaiśampāyana describes a distinguished chariot and its team: Kabul-bred horses, golden ornamentation, sunrise-like crimson sheen, and the named horses positioned on the right, left, and flanks—setting the scene for the movements and actions that follow in the Sauptika episode.