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Shloka 7

द्रोणपर्व — अध्याय ८७: सात्यकेरनुयात्रा

Sātyaki’s resolve and departure to reach Arjuna

स्तुवतां नाद्य श्रूयन्ते पुत्राणां शिबिरे मम । सूतमागधसंघानां नर्तकानां च सर्वश:,मेरे पुत्रोंके शिविरमें अब स्तुति करनेवाले सूतों, मागधों एवं नर्तकोंके शब्द सर्वथा नहीं सुनायी पड़ते हैं

stuvatāṁ nādya śrūyante putrāṇāṁ śibire mama | sūtamāgadhasaṅghānāṁ nartakānāṁ ca sarvaśaḥ ||

Dhṛtarāṣṭra said: “Today, in the camp of my sons, the sounds are no longer heard at all—those of the bards and panegyrists (sūtas and māgadhas) who used to sing praises, nor of the dancers. The very signs of confidence and celebration have fallen silent.”

स्तुवताम्of those who are praising (bards etc.)
स्तुवताम्:
Adhikarana
TypeNoun
Rootस्तुवत् (√स्तु)
FormMasculine/Neuter, Genitive, Plural
not
:
TypeIndeclinable
Root
अद्यtoday/now
अद्य:
Adhikarana
TypeIndeclinable
Rootअद्य
श्रूयन्तेare heard
श्रूयन्ते:
TypeVerb
Root√श्रु
FormPresent, Atmanepada, Third, Plural, Passive
पुत्राणाम्of (my) sons
पुत्राणाम्:
Sambandha
TypeNoun
Rootपुत्र
FormMasculine, Genitive, Plural
शिबिरेin the camp
शिबिरे:
Adhikarana
TypeNoun
Rootशिबिर
FormNeuter, Locative, Singular
ममmy
मम:
Sambandha
TypePronoun
Rootअस्मद्
FormGenitive, Singular
सूतof the sūtas (bards/charioteers)
सूत:
Sambandha
TypeNoun
Rootसूत
FormMasculine, Genitive, Plural
मागधof the māgadhas (panegyrists)
मागध:
Sambandha
TypeNoun
Rootमागध
FormMasculine, Genitive, Plural
संघानाम्of groups/companies
संघानाम्:
Sambandha
TypeNoun
Rootसंघ
FormMasculine, Genitive, Plural
नर्तकानाम्of dancers
नर्तकानाम्:
Sambandha
TypeNoun
Rootनर्तक
FormMasculine, Genitive, Plural
and
:
TypeIndeclinable
Root
सर्वशःentirely/in every way
सर्वशः:
TypeIndeclinable
Rootसर्वशः

धृतराष्ट उवाच

D
Dhṛtarāṣṭra
S
sons of Dhṛtarāṣṭra (Kauravas, implied)
Ś
śibira (the camp of the Kauravas)
S
sūtas
M
māgadhas
N
nartakas

Educational Q&A

Worldly power and celebration are fragile: when adharma-driven war turns against one, the outward signs of prosperity—praise, music, and festivity—vanish, revealing the instability of fortune and the moral cost of conflict.

Dhṛtarāṣṭra notes an ominous change: in his sons’ camp the usual voices of bards (sūtas, māgadhas) and dancers are absent. The silence signals fear, loss of confidence, and the grim turn of events in the battle.