Shloka 22
मड़ल्यान् पक्षिणश्रैव यच्चान्यदपि पूजितम् | दृष्टवा स्पृष्टवा च कौन्तेयो बाह्यां कक्ष्यां ततो5गमत्,तत्पश्चात् सोनेके बने हुए स्वस्तिक, सिकोरे, बन्द मुहवाले अर्घपात्र, माला, जलसे भरे हुए कलश, प्रज्वलित अग्नि, अक्षतसे भरे हुए पूर्णपात्र, बिजौरा नीबू, गोरोचन, आभूषणोंसे विभूषित सुन्दरी कन्याएँ, दही, घी, मधु, जल, मांगलिक पक्षी तथा अन्यान्य भी जो प्रशस्त वस्तुएँ हैं, उन सबको देखकर और उनमेंसे कुछका स्पर्श करके कुन्तीनन्दन युधिष्ठिरने बाहरी ड्योढीमें प्रवेश किया
maṅgalyān pakṣiṇaś caiva yac cānyad api pūjitam | dṛṣṭvā spṛṣṭvā ca kaunteyo bāhyāṃ kakṣyāṃ tato ’gamat ||
Sañjaya said: Having seen—and also touched—auspicious birds and other revered, propitious items set out for welcome, the son of Kuntī (Yudhiṣṭhira) then proceeded into the outer courtyard/anteroom. The scene underscores the customary invocation of good omens and purity at a threshold moment, as the king enters with mindful regard for auspiciousness amid the grave pressures of war.
संजय उवाच
Educational Q&A
The verse highlights the cultural-ethical practice of beginning significant actions with attention to auspiciousness and purity—seeing and touching revered, propitious signs—reflecting a dharmic mindset of mindfulness, restraint, and respect for ritual order even amid the turmoil of war.
Sañjaya reports that Yudhiṣṭhira, after observing and touching auspicious birds and other honoured items arranged as good omens, proceeds into the outer courtyard/anteroom, marking a formal, ritually framed entry at an important moment in the Drona Parva narrative.