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Shloka 6

Udyoga Parva Adhyāya 58 — Saṃjaya’s Audience and Kṛṣṇa’s Deterrent Counsel (संजय-प्रवेशः कृष्णवाक्यं च)

नैकरत्नविचित्रं तु काड्चन॑ं महदासनम्‌ | विविधास्तरणाकीर्ण यत्रासातामरिंदमौ,शत्रुओंका दमन करनेवाले वे दोनों वीर जिस विशाल आसनपर बैठे थे, वह सोनेका बना हुआ था। उसमें अनेक प्रकारके रत्न जटित होनेके कारण उसकी विचित्र शोभा हो रही थी। उसपर भाँति-भाँतिके सुन्दर बिछौने बिछे हुए थे

naikaratnavicitraṁ tu kāñcanaṁ mahad-āsanam | vividhāstaraṇākīrṇaṁ yatrāsātām arindamau ||

សញ្ជ័យបាននិយាយ៖ អាសនៈដ៏ធំដែលវីរបុរសទាំងពីរ អ្នកបង្ក្រាបសត្រូវ បានអង្គុយនោះ ធ្វើពីមាស។ ព្រោះតែតុបតែងដោយរតនៈជាច្រើនប្រភេទ វាបញ្ចេញពន្លឺចម្រុះយ៉ាងវិចិត្រ ហើយលើអាសនៈនោះបានប铺ដោយកម្រាល និងគម្របស្អាតៗជាច្រើនយ៉ាង—ជាសញ្ញានៃរាជសិរី និងភាពធ្ងន់ធ្ងរនៃសភាដែលកំពុងពិចារណាការសម្រេចចិត្តធំៗអំពីសន្តិភាព និងសង្គ្រាម។

नैकmany (not one)
नैक:
Karma
TypeAdjective
Rootन + एक
FormNeuter, Accusative, Singular
रत्नjewel
रत्न:
Karma
TypeNoun
Rootरत्न
FormNeuter, Accusative, Singular
विचित्रम्variegated, ornate
विचित्रम्:
Karma
TypeAdjective
Rootविचित्र
FormNeuter, Accusative, Singular
तुbut, indeed
तु:
TypeIndeclinable
Rootतु
काञ्चनम्golden
काञ्चनम्:
Karma
TypeAdjective
Rootकाञ्चन
FormNeuter, Accusative, Singular
महत्great, large
महत्:
Karma
TypeAdjective
Rootमहत्
FormNeuter, Accusative, Singular
आसनम्seat, throne
आसनम्:
Karma
TypeNoun
Rootआसन
FormNeuter, Accusative, Singular
विविधvarious
विविध:
Karma
TypeAdjective
Rootविविध
FormNeuter, Accusative, Singular
आस्तरणcovering, bedding
आस्तरण:
Karma
TypeNoun
Rootआस्तरण
FormNeuter, Accusative, Singular
आकीर्णम्strewn, covered (with)
आकीर्णम्:
Karma
TypeAdjective
Rootआ + √कॄ (किरति) / आकीर्ण (ppp)
FormNeuter, Accusative, Singular
यत्रwhere
यत्र:
Adhikarana
TypeIndeclinable
Rootयत्र
आसाताम्sat (the two sat)
आसाताम्:
TypeVerb
Root√आस् (आस्ते)
FormPerfect (Liṭ), 3rd, Dual, Ātmanepada
अरिंदमौthe two enemy-subduers
अरिंदमौ:
Karta
TypeNoun
Rootअरिंदम
FormMasculine, Nominative, Dual

संजय उवाच

S
Sañjaya
G
golden throne/seat (mahād-āsana)
G
gems (ratna)
C
coverings/beddings (āstaraṇa)

Educational Q&A

The verse underscores how outward royal splendor—gold, gems, and rich coverings—frames grave political deliberations. It implicitly contrasts material magnificence with the ethical weight of decisions that affect dharma, peace, and the lives of many.

Sañjaya describes the setting in the royal assembly: two renowned, enemy-subduing heroes are seated on a large golden throne adorned with many gems and covered with various fine spreads, establishing the majesty and formality of the scene.