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Shloka 19

धृतराष्ट्र-संजय-संवादः — सात्यकि-अलम्बुसयोर्युद्धवर्णनम्

Dhṛtarāṣṭra–Saṃjaya Dialogue; Account of Sātyaki vs Alambusa

उरश्छदैर्विचित्रैश्व व्यशो भन्‍्त तुरज्भमा: | गतसत्त्वा महीं प्राप्य प्रमृष्टा दीर्घबाहुना,कितने ही घोड़े सुनहरी रस्सियों तथा मोतीकी जालियोंसे विभूषित विचित्र आच्छादन वस्त्रोंस विशेष शोभायमान हो रहे थे। महाबाहु सात्यकिके द्वारा रौंदे जाकर वे धरतीपर पड़े थे और उनके प्राण-परखेरू उड़ गये

uraśchadair vicitraiś ca vyaśobhanta turagāḥ | gata-sattvā mahīṁ prāpya pramṛṣṭā dīrgha-bāhunā ||

Sañjaya dit : Les chevaux, parés de plastrons bigarrés et de riches caparaçons, offraient un éclatant spectacle. Mais, piétinés par Sātyaki aux longs bras, ils tombèrent sur la terre, le souffle de vie déjà éteint — image de l’élan impitoyable de la guerre, où les plus beaux ornements ne sauraient protéger les êtres des conséquences du conflit violent.

उरः-छदैःwith chest-coverings/horse-trappings
उरः-छदैः:
Karana
TypeNoun
Rootउरश्छद
FormMasculine, Instrumental, Plural
विचित्रैःvariegated, ornate
विचित्रैः:
Karana
TypeAdjective
Rootविचित्र
FormMasculine, Instrumental, Plural
and
:
TypeIndeclinable
Root
व्यशोभन्shone, were splendid
व्यशोभन्:
TypeVerb
Rootशुभ्
FormImperfect, 3, Plural, Parasmaipada
तुरङ्गमाःhorses
तुरङ्गमाः:
Karta
TypeNoun
Rootतुरङ्गम
FormMasculine, Nominative, Plural
गत-सत्त्वाःlifeless (whose life had gone)
गत-सत्त्वाः:
Karta
TypeAdjective
Rootगतसत्त्व
FormMasculine, Nominative, Plural
महीम्the earth/ground
महीम्:
Karma
TypeNoun
Rootमही
FormFeminine, Accusative, Singular
प्राप्यhaving reached, falling onto
प्राप्य:
TypeVerb
Rootप्र-आप्
Formक्त्वा (absolutive/gerund), Active
प्रमृष्टाःtrampled, crushed
प्रमृष्टाः:
TypeVerb
Rootप्र-मृद्/मृश्
Formक्त (past passive participle), Masculine, Nominative, Plural
दीर्घ-बाहुनाby the long-armed (hero)
दीर्घ-बाहुना:
Karana
TypeNoun
Rootदीर्घबाहु
FormMasculine, Instrumental, Singular

संजय उवाच

S
Sañjaya
S
Sātyaki
H
horses (turagāḥ)
O
ornate breast-guards/caparison (uraśchadāḥ)

Educational Q&A

The verse underscores the fragility of life amid war: external splendor and protection (ornate caparisons) cannot ultimately prevent death when violence escalates. It implicitly cautions against attachment to display and reminds the listener of the grave cost borne by all beings in conflict.

Sañjaya describes horses that had been richly adorned and looked magnificent, but in the press of battle they are trampled by the warrior Sātyaki and lie dead on the ground.