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Shloka 30

Adhyāya 104 — Śikhaṇḍin-puraskāraḥ (Śikhaṇḍin as Vanguard) and Bhīṣma’s Counter-Advance

आर्जुनि: समरे सैन्यं तावकं सम्ममर्द ह | मदान्धो गन्धनागेन्द्र: सपड्मां पिशेनीमिव,मायाद्वारा युद्ध करनेवाले उस राक्षसके पराजित हो जानेपर अर्जुनकुमार अभिमन्युने तुरंत ही रणक्षेत्रमें आपकी सेनाका उसी प्रकार मर्दन आरम्भ किया, जैसे गन्धयुक्त मदान्ध गजराज कमलोंसे भरी हुई पुष्करिणीको मथ डालता है

sañjaya uvāca | arjuniḥ samare sainyaṃ tāvakaṃ sammamarda ha | madāndho gandhanāgendraḥ sapadmāṃ puṣkariṇīm iva |

サञ्जयは言った。激戦のただ中で、アルジュニ――アルジュナの子アビマンニュは、ただちに汝の軍勢を踏み砕き始めた。香気をまとい、発情の狂気に酔う象王が、蓮に満ちた湖をかき乱すように、彼は猛然と隊列を破り、ダルマに鍛えられながらも戦の必然に駆られる武人の凄烈な勢いを示した。

आर्जुनिःArjuna’s son (Abhimanyu)
आर्जुनिः:
Karta
TypeNoun
Rootआर्जुनि (अर्जुन-अपत्य/वंशज)
FormMasculine, Nominative, Singular
समरेin battle
समरे:
Adhikarana
TypeNoun
Rootसमर
FormMasculine, Locative, Singular
सैन्यम्army
सैन्यम्:
Karma
TypeNoun
Rootसैन्य
FormNeuter, Accusative, Singular
तावकम्your (belonging to you)
तावकम्:
Karma
TypeAdjective
Rootतावक
FormNeuter, Accusative, Singular
सम्ममर्दcrushed, pounded
सम्ममर्द:
Karta
TypeVerb
Rootमृद् (मर्दने) with सम्-
FormPerfect (Liṭ), 3rd, Singular, Parasmaipada
indeed
:
TypeIndeclinable
Root
मदान्धःblinded by rut/intoxication
मदान्धः:
Karta
TypeAdjective
Rootमदान्ध
FormMasculine, Nominative, Singular
गन्धनागेन्द्रःthe fragrant lord of elephants
गन्धनागेन्द्रः:
Karta
TypeNoun
Rootगन्ध-नागेन्द्र
FormMasculine, Nominative, Singular
सपद्माम्with lotuses
सपद्माम्:
Karma
TypeAdjective
Rootस-पद्म (पद्म)
FormFeminine, Accusative, Singular
पुष्करिणीम्a lotus-pond
पुष्करिणीम्:
Karma
TypeNoun
Rootपुष्करिणी
FormFeminine, Accusative, Singular
इवlike, as if
इव:
TypeIndeclinable
Rootइव

संजय उवाच

S
Sañjaya
A
Abhimanyu (Arjuniḥ)
A
Arjuna (implied by patronymic)
K
Kaurava army (tāvakaṃ sainyam)
E
Elephant-king (gandhanāgendraḥ)
L
Lotus-pond (puṣkariṇī) with lotuses (padma)

Educational Q&A

The verse highlights kṣatriya-dharma in its narrative form: disciplined martial prowess used decisively in war. Ethically, it underscores how duty-driven combat can be portrayed as forceful yet purposeful, framed through poetic imagery rather than moral celebration of violence for its own sake.

After a māyā-based (deceptive/illusory) fighter is overcome (as indicated by the accompanying Hindi gloss), Abhimanyu immediately begins to rout and crush the Kaurava forces on the battlefield, compared to a rut-maddened elephant churning a lotus-filled pond.