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Shloka 32

Adhyāya 18 — Sequential Duels and Formation Pressure

Ulūka–Yuyutsu; Śakuni–Sutasoma; Kṛpa–Dhṛṣṭadyumna; Kṛtavarmā–Śikhaṇḍin

सुवर्णविकृतान्‌ प्रासाञउशक्ती: कनकभूषिता: । जाम्बूनदमयै: पट्टैर्बद्धाश्न विपुला गदा:,'सोनेके बने हुए प्रास, सुवर्णभूषित शक्तियाँ, सोनेके पत्रोंसे जड़ी हुई विशाल गदाएँ, स्वर्णमयी ऋष्टि, सुवर्णभूषित पट्टिश तथा स्वर्णचित्रित दंडोंके साथ बहुत-से फरसे फेंके पड़े हैं, इनपर दृष्टिपात करो

suvarṇa-vikṛtān prāsān uśaktīḥ kanaka-bhūṣitāḥ | jāmbūnada-mayaiḥ paṭṭair baddhāś ca vipulā gadāḥ ||

Sanjaya said: “Behold—there lie scattered spears wrought of gold, javelins adorned with gold, and massive maces bound with plates of Jāmbūnada-gold.” In this vision of the battlefield, the poet underscores the grim irony of wealth and craftsmanship being reduced to debris amid adharma-driven slaughter, where splendid weapons become mere remnants of human ruin.

सुवर्णविकृतान्fashioned of gold / gold-worked
सुवर्णविकृतान्:
Karma
TypeAdjective
Rootसुवर्ण-विकृत
FormMasculine, Accusative, Plural
प्रासान्spears
प्रासान्:
Karma
TypeNoun
Rootप्रास
FormMasculine, Accusative, Plural
उशक्तीःjavelins / lances
उशक्तीः:
Karma
TypeNoun
Rootशक्ति
FormFeminine, Accusative, Plural
कनकभूषिताःadorned with gold
कनकभूषिताः:
Karma
TypeAdjective
Rootकनक-भूषित
FormFeminine, Accusative, Plural
जाम्बूनदमयैःmade of Jāmbūnada-gold
जाम्बूनदमयैः:
Karana
TypeAdjective
Rootजाम्बूनद-मय
FormMasculine/Neuter, Instrumental, Plural
पट्टैःwith bands/straps/plates
पट्टैः:
Karana
TypeNoun
Rootपट्ट
FormMasculine, Instrumental, Plural
बद्धाःbound / fastened
बद्धाः:
Karma
TypeAdjective
Rootबद्ध
FormFeminine, Accusative, Plural
विपुलाःhuge / broad
विपुलाः:
Karma
TypeAdjective
Rootविपुल
FormFeminine, Accusative, Plural
गदाःmaces
गदाः:
Karma
TypeNoun
Rootगदा
FormFeminine, Accusative, Plural

संजय उवाच

S
Sanjaya
P
prāsa (spears)
Ś
śakti (javelins)
G
gadā (maces)
S
suvarṇa/kanaka/jāmbūnada (gold)

Educational Q&A

The verse highlights the futility of worldly splendor in war: even exquisitely crafted, gold-adorned weapons end up discarded on the ground. It implicitly critiques attachment to power and luxury when driven by adharma, showing how grandeur collapses into ruin amid violence.

Sanjaya, describing the Kurukṣetra battlefield to Dhṛtarāṣṭra, points out the scene of weapons lying scattered—spears, javelins, and heavy maces decorated with gold—emphasizing the scale of combat and the aftermath visible on the field.