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Mahabharata 7.95.34Drona Parva, Adhyaya 95, Shloka 34

Droṇa-parva Adhyāya 95 — Sātyaki’s Breakthrough and the Routing of Allied Contingents

तैः शिरोभिममही कीर्णा बाहुभिश्न सहाडुदै: । बभौ कनकपाषाणा भुजगैरिव संवृता

taiḥ śirobhir mahī kīrṇā bāhubhiś ca sahāṅgadaiḥ | babhau kanakapāṣāṇā bhujagair iva saṃvṛtā ||

ສັນຊະຍະ ກ່າວວ່າ: ພື້ນດິນທີ່ນັ້ນເກືອບຈະເຕັມໄປດ້ວຍຫົວທີ່ຖືກຕັດ ແລະ ແຂນທີ່ຍັງມີກໍາໄລຂໍ້ມືຕິດຢູ່. ຖືກປົກຄຸມແບບນັ້ນ ສະໜາມຮົບດູຄືພື້ນທີ່ປູດ້ວຍຫີນຄໍາ ດັ່ງຖືກງູລ້ອມຮອບ.

तैःby those (with those)
तैः:
Karana
TypePronoun
Rootतद्
FormMasculine/Neuter, Instrumental, Plural
शिरोभिःwith heads
शिरोभिः:
Karana
TypeNoun
Rootशिरस्
FormNeuter, Instrumental, Plural
महीthe earth/ground
मही:
Karta
TypeNoun
Rootमही
FormFeminine, Nominative, Singular
कीर्णाstrewn, scattered
कीर्णा:
Karta
TypeAdjective
Rootकॄ (कीर्) / √कॄ (to scatter)
FormFeminine, Nominative, Singular, Past passive participle (क्त)
बाहुभिःwith arms
बाहुभिः:
Karana
TypeNoun
Rootबाहु
FormMasculine, Instrumental, Plural
and
:
TypeIndeclinable
Root
सहtogether with
सह:
TypeIndeclinable
Rootसह
आयुधैःwith weapons
आयुधैः:
Karana
TypeNoun
Rootआयुध
FormNeuter, Instrumental, Plural
बभौshone, appeared splendid
बभौ:
TypeVerb
Root√भा (भा दीप्तौ)
FormPerfect (लिट्), 3rd, Singular, Parasmaipada
कनकपाषाणाhaving golden rocks/stone-slabs
कनकपाषाणा:
Karta
TypeAdjective
Rootकनकपाषाण
FormFeminine, Nominative, Singular
भुजगैःby serpents
भुजगैः:
Karana
TypeNoun
Rootभुजग
FormMasculine, Instrumental, Plural
इवas if, like
इव:
TypeIndeclinable
Rootइव
संवृताcovered, surrounded
संवृता:
Karta
TypeAdjective
Rootसम् + √वृ (वृञ् वरणे/वृ to cover)
FormFeminine, Nominative, Singular, Past passive participle (क्त)

संजय उवाच

S
Sañjaya
E
earth/ground (mahī)
H
heads (śiras)
A
arms (bāhu)
A
armlets (aṅgada)
S
serpents (bhujaga)
G
golden rocks/stones (kanakapāṣāṇa)

Educational Q&A

The verse offers a stark ethical contrast: the same ornaments that signify status and martial pride (armlets) become mere debris when life is destroyed. Through a vivid simile, it points to the futility and moral cost of violence—how war can appear ‘splendid’ in description yet is fundamentally a scene of ruin.

Sañjaya narrates the battlefield’s condition: the ground is littered with severed heads and arms still wearing armlets. He compares the scene to a terrain studded with golden stones and surrounded by serpents, emphasizing both the density of fallen limbs and the terrifying atmosphere after intense combat.

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