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Shloka 47

Sukalā’s Narrative (within the Vena Episode): Varāha, Ikṣvāku, and the Dharma of Battle

विद्धश्च कैश्चित्तदा बाणजालैः सुयोधैश्च संग्रामभूमौ विशालैः । क्वचिच्चक्रघातैः क्वचिद्वज्रपातैर्हतं दुर्जयं संगरे तं महांतैः

viddhaśca kaiścittadā bāṇajālaiḥ suyodhaiśca saṃgrāmabhūmau viśālaiḥ | kvaciccakraghātaiḥ kvacidvajrapātairhataṃ durjayaṃ saṃgare taṃ mahāṃtaiḥ

ત્યારે તે વિશાળ યુદ્ધભૂમિમાં કેટલાક ઉત્તમ યોધ્ધાઓએ બાણવર્ષાથી તેને ભેદ્યો; ક્યાંક ચક્રઘાત, ક્યાંક વજ્રપાત—આ રીતે મહાબલોએ યુદ્ધમાં તે દુર્જય શત્રુનો વધ કર્યો।

विद्धःpierced/wounded
विद्धः:
Karta (Subject/कर्ता)
TypeAdjective
Rootव्यध्/विध् (धातु) + क्त (कृदन्त)
Formक्त-प्रत्ययान्तं भूतकर्मणि कृदन्तम्; पुंलिङ्गे प्रथमा एकवचनम्
and
:
Sambandha (Connector/सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक-निपात (conjunction)
कैश्चित्by some (persons)
कैश्चित्:
Karana (Instrument/करण)
TypeNoun
Rootकिम् (सर्वनाम) + चित् (अव्यय-प्रत्यय)
Formपुंलिङ्गे तृतीया बहुवचनम्; अनिश्चितवाचक-सर्वनाम (indefinite pronoun)
तदाthen
तदा:
Kriya-visheshaṇa (Adverbial/क्रियाविशेषण)
TypeIndeclinable
Rootतदा (अव्यय)
Formकालवाचक-अव्यय (adverb of time)
बाणजालैःwith nets/volleys of arrows
बाणजालैः:
Karana (Instrument/करण)
TypeNoun
Rootबाण + जाल (प्रातिपदिक)
Formनपुंसकलिङ्गे तृतीया बहुवचनम्; षष्ठी-तत्पुरुषः (बाणानां जालैः)
सुयोधैःby good warriors
सुयोधैः:
Karana (Instrument/करण)
TypeNoun
Rootसु + योध (प्रातिपदिक)
Formपुंलिङ्गे तृतीया बहुवचनम्; कर्मधारयः (सुयोधाः = उत्तमयोधाः)
and
:
Sambandha (Connector/सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक-निपात
संग्रामभूमौon the battlefield
संग्रामभूमौ:
Adhikarana (Location/अधिकरण)
TypeNoun
Rootसंग्राम + भूमि (प्रातिपदिक)
Formस्त्रीलिङ्गे सप्तमी एकवचनम्; षष्ठी-तत्पुरुषः (संग्रामस्य भूमौ)
विशालैःby mighty/huge (ones)
विशालैः:
Karana (Instrument/करण)
TypeAdjective
Rootविशाल (प्रातिपदिक)
Formपुंलिङ्गे तृतीया बहुवचनम्; ‘सुयोधैः’ इति विशेषणम्
क्वचित्in some places/at times
क्वचित्:
Kriya-visheshaṇa (Adverbial/क्रियाविशेषण)
TypeIndeclinable
Rootक्वचित् (अव्यय)
Formदेशवाचक-अव्यय (adverb: somewhere/at times)
चक्रघातैःwith blows of discs
चक्रघातैः:
Karana (Instrument/करण)
TypeNoun
Rootचक्र + घात (प्रातिपदिक)
Formपुंलिङ्गे तृतीया बहुवचनम्; तृतीया-तत्पुरुषः/षष्ठी-तत्पुरुषः (चक्रेण घातैः / चक्रस्य घातैः)
क्वचित्elsewhere/at times
क्वचित्:
Kriya-visheshaṇa (Adverbial/क्रियाविशेषण)
TypeIndeclinable
Rootक्वचित् (अव्यय)
Formदेश/कालवाचक-अव्यय
वज्रपातैःwith thunderbolt-falls/strikes
वज्रपातैः:
Karana (Instrument/करण)
TypeNoun
Rootवज्र + पात (प्रातिपदिक)
Formपुंलिङ्गे तृतीया बहुवचनम्; तत्पुरुषः (वज्रस्य पातैः)
हतम्slain/struck down
हतम्:
Karman (Object/कर्म)
TypeAdjective
Rootहन् (धातु) + क्त (कृदन्त)
Formक्त-प्रत्ययान्तं भूतकर्मणि कृदन्तम्; पुंलिङ्गे द्वितीया एकवचनम्; ‘तम्’ इति विशेषणम्
दुर्जयम्hard to conquer
दुर्जयम्:
Karman (Object/कर्म)
TypeAdjective
Rootदुर् + जय (प्रातिपदिक)
Formपुंलिङ्गे द्वितीया एकवचनम्; कर्मधारयः (दुर्जयः = जयितुम् अशक्यः); ‘तम्’ इति विशेषणम्
संगरेin battle
संगरे:
Adhikarana (Location/अधिकरण)
TypeNoun
Rootसंगर (प्रातिपदिक)
Formपुंलिङ्गे सप्तमी एकवचनम्
तम्him
तम्:
Karman (Object/कर्म)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formपुंलिङ्गे द्वितीया एकवचनम्; सर्वनाम
महान्तैःby great (warriors)
महान्तैः:
Karana (Instrument/करण)
TypeAdjective
Rootमहन्त् (प्रातिपदिक)
Formपुंलिङ्गे तृतीया बहुवचनम्; ‘कैश्चित्/सुयोधैः’ इत्यादीनां विशेषणम्

Narrator (speaker not identifiable from the single verse alone)

Concept: Even the ‘hard-to-conquer’ meets an end when confronted by concentrated, superior force; worldly invincibility is transient.

Application: Do not build identity on being ‘unconquerable’; cultivate humility and align actions with dharma to avoid the backlash of collective and cosmic correction.

Primary Rasa: raudra

Secondary Rasa: adbhuta

Visual Art Cues: {"scene_description":"A colossal battlefield stretches to the horizon, where elite warriors unleash a net of arrows that darkens the sky. Amid the chaos, a blazing discus arcs like a sun-wheel, while a thunderbolt crashes down in a white-gold burst, striking the formidable foe in staggered impacts across the field.","primary_figures":["excellent warriors (suyodha)","the hard-to-conquer foe (durgjaya)","symbolic discus (cakra)","symbolic thunderbolt (vajra)"],"setting":"vast open battlefield with churned earth, broken chariots, banners torn by wind, distant forest line","lighting_mood":"divine radiance","color_palette":["storm-cloud indigo","lightning white","molten gold","blood crimson","dust ochre"],"tanjore_prompt":"Tanjore painting style: a central dramatic strike scene with a radiant cakra and descending vajra rendered with gold-leaf brilliance, warriors in ornate armor, patterned textiles, gem-like highlights, symmetrical framing and rich red-green background panels.","pahari_prompt":"Pahari miniature style: panoramic battlefield with fine detail—tiny archers releasing volleys, a luminous discus sweeping across the sky, a stylized lightning-bolt impact, cool blues and grays contrasted with warm reds, elegant narrative spacing.","kerala_mural_prompt":"Kerala mural style: iconic weapon forms—cakra as a flaming wheel, vajra as a stylized thunder emblem—bold outlines, flat color fields, intense reds/yellows, rhythmic warrior poses, temple-mural dynamism.","pichwai_prompt":"Pichwai cloth painting style: celestial weapons depicted as ornate motifs—cakra like a jeweled mandala, vajra like a sacred emblem—set above a battlefield tableau, deep blue ground with gold, floral borders and lotus medallions framing the violence into cosmic order."}

Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["thunderclap","conch shell","war cries","arrow hiss","drum crescendo"]}

Sandhi Resolution Notes: विद्धश्च = विद्धः + च; कैश्चित् = कैः + चित्; सुयोधैश्च = सुयोधैः + च; क्वचिच्चक्रघातैः = क्वचित् + चक्रघातैः; क्वचिद्वज्रपातैः = क्वचित् + वज्रपातैः; वज्रपातैर्हतम् = वज्रपातैः + हतम्.

FAQs

It depicts a hard-to-conquer opponent being overwhelmed and slain on a vast battlefield by expert warriors using volleys of arrows, as well as powerful strikes likened to a discus (cakra) and a thunderbolt (vajra).

Not directly in this single verse; it is primarily a narrative battle description. Any broader theological or ethical teaching depends on the surrounding passage and who the combatants are.

The verse alone does not name him. Identifying the person requires the preceding and following verses of Book 2 (Bhūmi-khaṇḍa), Adhyaya 43.