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Shloka 56

मैत्रेयागमनम् — The Arrival of Maitreya and the Admonition to Duryodhana

अभिपद्य च बाहुभ्यां प्रत्यगृह्नादमर्षित: । मातड़मिव मातड़ः प्रभिन्नकरटामुखम्‌,उन्होंने अमर्षमें भरकर सहसा आक्रमण करके दोनों भुजाओंसे उस राक्षसको उसी तरह पकड़ लिया, जैसे मतवाला गजराज गण्डस्थलसे मदकी धारा बहानेवाले दूसरे हाथीसे भिड़ जाता है

abhipadya ca bāhubhyāṃ pratyagṛhnād amarṣitaḥ | mātaṅgam iva mātaṅgaḥ prabhinnakaraṭāmukham ||

അമർഷം കത്തിയുയർന്ന് അവൻ വേഗത്തിൽ മുന്നോട്ട് പാഞ്ഞു, ഇരുകൈകളാലും ആ രാക്ഷസനെ പിടിച്ചുകെട്ടി—കപോലങ്ങളിൽ നിന്ന് മദധാര ഒഴുകുന്ന മറ്റൊരു ആനയെ മദോന്മത്ത ഗജരാജൻ എങ്ങനെ ചേർത്തുപിടിക്കുമോ അതുപോലെ।

अभिपद्यhaving approached/attacked
अभिपद्य:
Adhikarana
TypeVerb
Rootअभि-√पद्
Formक्त्वा-प्रत्यय (absolutive/gerund)
and
:
TypeIndeclinable
Root
बाहुभ्याम्with (his) two arms
बाहुभ्याम्:
Karana
TypeNoun
Rootबाहु
FormMasculine, Instrumental, Dual
प्रत्यगृह्णात्seized/held
प्रत्यगृह्णात्:
TypeVerb
Rootप्रति-√ग्रह्
FormAorist (लुङ्), 3rd, Singular, Parasmaipada
अमर्षितःenraged, impatient
अमर्षितः:
Karta
TypeAdjective
Rootअमर्षित
FormMasculine, Nominative, Singular
मातङ्गःan elephant
मातङ्गः:
Karta
TypeNoun
Rootमातङ्ग
FormMasculine, Nominative, Singular
इवlike, as
इव:
TypeIndeclinable
Rootइव
मातङ्गम्an elephant (as object)
मातङ्गम्:
Karma
TypeNoun
Rootमातङ्ग
FormMasculine, Accusative, Singular
मातङ्गःan elephant (subject)
मातङ्गः:
Karta
TypeNoun
Rootमातङ्ग
FormMasculine, Nominative, Singular
प्रभिन्नbursting forth, streaming
प्रभिन्न:
TypeAdjective
Rootप्र-√भिद्
Formक्त (past passive participle), used adjectivally, Neuter (in compound with मुखम्), Accusative, Singular
करटelephant’s cheek/temple (gland region)
करट:
TypeNoun
Rootकरट
FormMasculine, Stem (in compound)
मुखम्face/mouth (i.e., one whose temples are streaming)
मुखम्:
Karma
TypeNoun
Rootमुख
FormNeuter, Accusative, Singular

विदुर उवाच

V
Vidura (speaker)
R
rākṣasa (demon/opponent)
M
mātaṅga (elephant)
K
karaṭa (elephant temples)
M
mada (musth/rut fluid, implied by prabhinna-karaṭa)

Educational Q&A

The verse illustrates how anger (amarṣa) can propel decisive action and amplify physical force; ethically, it also serves as a cautionary portrait of passion overpowering restraint—strength becomes most dangerous when driven by indignation rather than measured dharma.

A figure, enraged, charges and physically grapples a rākṣasa, locking him with both arms. The poet compares the clash to two elephants colliding in musth, emphasizing the ferocity and dominance of the encounter.