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Mahabharata 1.209.3Adi Parva, Adhyaya 209, Shloka 3

Ādi-parva Adhyāya 209: Śaraṇāgati of the Cursed Apsarases; Nārītīrtha-prasiddhi; Arjuna’s Vimocana

गदापट्टिशधारिण्या शूलमुद्गरहस्तया । प्रस्थितौ सह वर्मिण्या महत्या दैत्यसेनया

gadā-paṭṭiśa-dhāriṇyā śūla-mudgara-hastayā | prasthitau saha varmiṇyā mahatyā daitya-senayā ||

അവരോടൊപ്പം ഗദ, പട്ടിശ, ശൂലം, മുദ്ഗരം എന്നിവ കൈവശം വച്ച് കവചധാരികളായ ദൈത്യരുടെ മഹാസേനയും പുറപ്പെട്ടു. ആ സേനയോടുകൂടി അവർ ഇരുവരും പ്രസ്ഥാനമെടുത്തു. ചാരണർ വിജയസൂചക മംഗളഘോഷങ്ങളും സ്തുതിപാഠങ്ങളും ചൊല്ലി അവരുടെ ഗുണഗാനം ചെയ്തു കൂടെ നടന്നു. ഇങ്ങനെ ആ രണ്ടു ദൈത്യരും മഹാനന്ദത്തോടെ മുന്നേറി.

गदाwith a mace
गदा:
Karana
TypeNoun
Rootगदा
FormFeminine, Instrumental, Singular
पट्टिशwith a battle-axe
पट्टिश:
Karana
TypeNoun
Rootपट्टिश
FormMasculine, Instrumental, Singular
धारिण्याbearing/holding
धारिण्या:
Karana
TypeAdjective
Rootधारिणी
FormFeminine, Instrumental, Singular
शूलwith a spear/trident
शूल:
Karana
TypeNoun
Rootशूल
FormNeuter, Instrumental, Singular
मुद्गरwith a club/hammer
मुद्गर:
Karana
TypeNoun
Rootमुद्गर
FormMasculine, Instrumental, Singular
हस्तयाhaving in (her) hand
हस्तया:
Karana
TypeAdjective
Rootहस्ता
FormFeminine, Instrumental, Singular
प्रस्थितौhaving set out / departing (the two)
प्रस्थितौ:
Karta
TypeVerb
Rootप्र-स्था
FormMasculine, Nominative, Dual
सहtogether with
सह:
Karana
TypeIndeclinable
Rootसह
वर्मिण्याarmoured
वर्मिण्या:
Karana
TypeAdjective
Rootवर्मिन्
FormFeminine, Instrumental, Singular
महत्याgreat/large
महत्या:
Karana
TypeAdjective
Rootमहत्
FormFeminine, Instrumental, Singular
दैत्यof the demons (Daityas)
दैत्य:
Adhikarana
TypeNoun
Rootदैत्य
FormMasculine, Genitive, Singular
सेनयाwith the army
सेनया:
Karana
TypeNoun
Rootसेना
FormFeminine, Instrumental, Singular

नारद उवाच

N
Nārada
D
Daityas
D
Daitya-senā (army of Daityas)
C
Cāraṇas (bards)
G
gadā (mace)
P
paṭṭiśa (battle-axe)
Ś
śūla (trident)
M
mudgara (club/hammer)
V
varman (armour)

Educational Q&A

The verse highlights how martial power is publicly framed through auspicious speech and praise: weapons and armour signify readiness for conflict, while the cāraṇas’ victory-songs create moral and psychological momentum. It implicitly warns that exhilaration and acclaim can accompany the advance toward violence, making discernment (dharma-viveka) necessary even amid celebration.

Two Daitya leaders (referred to in the dual) depart on a journey/march accompanied by a large, well-armed and armoured Daitya host. As they proceed, bards travel alongside, chanting auspicious victory verses and praising their qualities, and the Daityas continue their travel in high spirits.

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