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Shloka 42

अर्जुनदुःखहेतुप्रश्नः — Inquiry into the cause of Arjuna’s recurring hardship

Book 14, Chapter 89

मत्तप्रमत्तमुदितं सुप्रीतयुवतीजनम्‌ । मृदज्रशड्खनादैश्व मनोरमम भूत्‌ तदा,उस यज्ञके भीतर आये हुए सब लोग मत्त-प्रमत्त और आनन्द विभोर हो रहे थे। युवतियाँ बड़ी प्रसन्नताके साथ वहाँ विचरण करती थीं। मृदंगों और शंखोंकी ध्वनियोंसे उस यज्ञशालाकी मनोरमता और भी बढ़ गयी थी

matta-pramattam uditaṁ suprīta-yuvatī-janam | mṛdaṅga-śaṅkha-nādaiś ca manoramaṁ abhūt tadā ||

Vaiśampāyana said: At that time, everyone who had entered the sacrificial enclosure was exhilarated—almost intoxicated with joy—and uplifted in spirit. Groups of young women moved about there with great delight. And with the resonant sounds of drums and conches, the beauty and festive charm of that yajña-hall became even more enchanting.

मत्तintoxicated, excited
मत्त:
Karma
TypeAdjective
Rootमत्त
FormNeuter, Accusative, Singular
प्रमत्तcarefree, heedless (in joy)
प्रमत्त:
Karma
TypeAdjective
Rootप्रमत्त
FormNeuter, Accusative, Singular
मुदितम्gladdened, delighted
मुदितम्:
Karma
TypeAdjective
Rootमुदित
FormNeuter, Accusative, Singular
सुप्रीतvery pleased
सुप्रीत:
Karma
TypeAdjective
Rootसुप्रीत
FormNeuter, Accusative, Singular
युवतीof young women
युवती:
Sambandha
TypeNoun
Rootयुवती
FormFeminine, Genitive, Plural
जनम्people, crowd
जनम्:
Karma
TypeNoun
Rootजन
FormMasculine, Accusative, Singular
मृदङ्गby drums (mṛdaṅgas)
मृदङ्ग:
Karana
TypeNoun
Rootमृदङ्ग
FormMasculine, Instrumental, Plural
शङ्खby conches
शङ्ख:
Karana
TypeNoun
Rootशङ्ख
FormMasculine, Instrumental, Plural
नादैःby sounds
नादैः:
Karana
TypeNoun
Rootनाद
FormMasculine, Instrumental, Plural
and
:
TypeIndeclinable
Root
मनोरमम्charming, delightful
मनोरमम्:
Karta
TypeAdjective
Rootमनोरम
FormNeuter, Nominative, Singular
अभूत्became, was
अभूत्:
TypeVerb
Rootभू
FormAorist (Luṅ), 3, Singular, Parasmaipada
तदाthen, at that time
तदा:
Adhikarana
TypeIndeclinable
Rootतदा

वैशम्पायन उवाच

V
Vaiśampāyana
Y
yajña-śālā (sacrificial hall/enclosure)
M
mṛdaṅga (drum)
Ś
śaṅkha (conch)

Educational Q&A

The verse highlights how a properly conducted sacred rite creates an atmosphere of collective uplift—joy expressed through orderly festivity (music, movement, communal participation) within a consecrated space. It suggests that celebration can be ethically aligned when it supports a dharmic ritual context rather than mere indulgence.

During the Aśvamedha sacrifice, the sacrificial enclosure is filled with people who are jubilant and absorbed in the festive mood. Young women move about happily, and the sounds of drums and conches intensify the grandeur and charm of the yajña-hall.