Shloka 29
द्रौपदी-भीमसेनसंवादः
Draupadī–Bhīmasena Dialogue on Suffering, Kāla, and Daiva
यदा होन॑ परिवृतं कन्याभिदेदेवरूपिणम् । प्रभिन्नमिव मातडूं परिकीर्ण करेणुनि:,हथिनियोंसे घिरे हुए गण्डस्थलसे मधुकी धारा बहानेवाले गजराजकी भाँति जब वाद्ययन्त्रोंके बीचमें बैठे हुए देवरूपधारी कुन्तीनन्दन अर्जुनको (नृत्यशालामें) कनन््याओंसे घिरकर धनपति मत्स्यराज विराटकी सेवामें उपस्थित देखती हूँ, उस समय मेरी आँखोंमें अँधेरा छा जाता है; मुझे दिशाएँ नहीं सूझती हैं
yadā haiva parivṛtaṃ kanyābhir devatārūpiṇam | prabhinnam iva mātaṅgaṃ parikīrṇaṃ kareṇubhiḥ ||
Dijo Vaiśampāyana: Siempre que veo a Arjuna, hijo de Kuntī—revestido de una forma semejante a la de un dios—sentado entre el estruendo de los instrumentos musicales y rodeado de doncellas en la sala de danza, sirviendo a Virāṭa, señor de las riquezas del reino de los Matsyas, se me aparece como un gran elefante en celo, cercado por elefantas, con corrientes que manan de sus sienes. Ante esa visión, mi mirada se tambalea; la oscuridad parece caer sobre mis ojos y pierdo todo sentido de orientación.
वैशम्पायन उवाच
Educational Q&A
The verse highlights the strain of dharma under concealment: a heroic warrior must accept an outwardly incongruent role to keep a vow and protect a larger righteous aim. It also shows how attachment to social expectations can cause inner disorientation when confronted with a dharmic necessity that overturns appearances.
During the Pāṇḍavas’ incognito year in Virāṭa’s court, Arjuna lives as a dance-and-music teacher in a feminine guise. The speaker describes seeing him seated among instruments and surrounded by maidens while serving King Virāṭa, comparing him to a rutting elephant encircled by cow-elephants, and expresses being overwhelmed and losing composure at the sight.