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Shloka 60

अध्याय ९ — कर्णस्य प्रहारः, योधयुग्मनियोजनम्, शैनेय-कैकेययोर्युद्धविन्यासः

दासभार्येति पाञज्चालीमब्रवीत्‌ कुरुसंनिधौ । न सन्ति पतय: कृष्णे सर्वे षण्ढतिलै: समा:

dāsabhāryeti pāñcālīm abravīt kurusaṃnidhau | na santi patayaḥ kṛṣṇe sarve ṣaṇḍhatilaiḥ samāḥ ||

Vaiśampāyana berkata: Di hadapan para Kuru ia mengejek Pāñcālī, “Engkau istri budak.” Lalu ia menambahkan, “Kṛṣṇā tak punya suami; mereka semua sama saja seperti orang impoten.”

दासीa maidservant/slave-woman
दासी:
Karta
TypeNoun
Rootदासी
FormFeminine, Nominative, Singular
भार्याwife
भार्या:
Karta
TypeNoun
Rootभार्या
FormFeminine, Nominative, Singular
इतिthus (quoting)
इति:
TypeIndeclinable
Rootइति
पाञ्चालीम्Pañcālī (Draupadī)
पाञ्चालीम्:
Karma
TypeNoun
Rootपाञ्चाली
FormFeminine, Accusative, Singular
अब्रवीत्said/spoke
अब्रवीत्:
TypeVerb
Rootब्रू
FormImperfect (Laṅ), 3rd, Singular, Parasmaipada
कुरु-संनिधौin the presence of the Kurus
कुरु-संनिधौ:
Adhikarana
TypeNoun
Rootकुरु-संनिधि
FormMasculine, Locative, Singular
not
:
TypeIndeclinable
Root
सन्तिare/exist
सन्ति:
TypeVerb
Rootअस्
FormPresent (Laṭ), 3rd, Plural, Parasmaipada
पतयःhusbands
पतयः:
Karta
TypeNoun
Rootपति
FormMasculine, Nominative, Plural
कृष्णेin/for Kṛṣṇā (Draupadī)
कृष्णे:
Adhikarana
TypeNoun
Rootकृष्णा
FormFeminine, Locative, Singular
सर्वेall
सर्वे:
Karta
TypeAdjective
Rootसर्व
FormMasculine, Nominative, Plural
षण्ढ-तिलैःwith eunuchs (lit. 'eunuch-sesames', a contemptuous expression)
षण्ढ-तिलैः:
Karana
TypeNoun
Rootषण्ढ-तिल
FormMasculine, Instrumental, Plural
समाःequal/like
समाः:
TypeAdjective
Rootसम
FormMasculine, Nominative, Plural

वैशम्पायन उवाच

V
Vaiśampāyana
P
Pāñcālī (Draupadī, Kṛṣṇā)
K
Kurus (Kuru assembly)

Educational Q&A

The verse highlights how adharma spreads when a public assembly tolerates cruelty: verbal violence and sexualized slander are used to strip a person of dignity and to provoke conflict. Ethically, it condemns the misuse of power and speech, especially in a royal court where restraint and protection of the vulnerable are expected.

In the Kuru assembly, Pāñcālī (Draupadī) is publicly abused with the epithet “slave’s wife,” and her husbands are derided as impotent. The scene underscores the collapse of decorum and righteousness in the court, intensifying hostility and justifying the moral outrage that fuels the larger conflict.