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Shloka 16

स्त्रीपर्व — गान्धारीविलापः

Strī Parva — Gāndhārī’s Lament over the Fallen

प्रविश्य समरे शूर: पाण्डवानामनीकिनीम्‌ | स वीरशयमने शेते पर: सत्पुरुषोचिते,जो शूरवीर समरांगणमें पाण्डवोंकी सेनाके भीतर घुसकर लोहा लेता था, वही आज सत्पुरुषोचित वीरशय्यापर शयन कर रहा है

praviśya samare śūraḥ pāṇḍavānām anīkinīm | sa vīraśayyam āne śete paraḥ satpuruṣocite ||

Vaiśampāyana berkata: “Pahlawan itu yang, memasuki pertempuran, pernah menerobos ke dalam bala tentera Pāṇḍava dan meraih kemasyhuran dengan kekuatan senjata—kini terbaring di atas ranjang pahlawan, tempat persemadian yang layak bagi insan mulia dan benar (satpuruṣa).” Rangkap ini memperhadapkan keganasan medan laga dengan ketenangan maut yang bermaruah, menegaskan bahawa keberanian akhirnya diukur oleh pengakhiran yang terhormat dan cita-cita ‘orang baik’ (satpuruṣa).

प्रविश्यhaving entered
प्रविश्य:
Karta
TypeVerb
Rootप्र-विश्
Formल्यप् (क्त्वा-प्रत्यय), कर्तरि, पूर्वकाल (absolutive)
समरेin battle
समरे:
Adhikarana
TypeNoun
Rootसमर
FormMasculine, Locative, Singular
शूरःthe hero/brave man
शूरः:
Karta
TypeNoun
Rootशूर
FormMasculine, Nominative, Singular
पाण्डवानाम्of the Pāṇḍavas
पाण्डवानाम्:
Adhikarana
TypeNoun
Rootपाण्डव
FormMasculine, Genitive, Plural
अनीकिनीम्army/host
अनीकिनीम्:
Karma
TypeNoun
Rootअनीकिनी
FormFeminine, Accusative, Singular
सःhe
सः:
Karta
TypePronoun
Rootतद्
FormMasculine, Nominative, Singular
वीरशयमनेon the hero’s bed (heroic couch)
वीरशयमने:
Adhikarana
TypeNoun
Rootवीर-शयमन
FormNeuter, Locative, Singular
शेतेlies/reposes
शेते:
Karta
TypeVerb
Rootशी
Formलट्, आत्मनेपद, Third, Singular, Present
परःsupreme/excellent
परः:
Karta
TypeAdjective
Rootपर
FormMasculine, Nominative, Singular
सत्पुरुषोचितेbefitting a good man/noble person
सत्पुरुषोचिते:
Adhikarana
TypeAdjective
Rootसत्-पुरुष-उचित
FormNeuter, Locative, Singular

वैशम्पायन उवाच

V
Vaiśampāyana
P
Pandavas
P
Pandava army (anīkinī)
V
vīraśayyā (warrior’s bed)

Educational Q&A

The verse highlights the ethical ideal that true valor culminates in an honorable end: the same warrior who was fierce in combat is now portrayed as resting on a ‘vīraśayyā,’ a dignified death-bed suited to a satpuruṣa (noble person). It frames death not merely as defeat but as a moral reckoning of one’s warrior-life.

In the Strī Parva’s lamentation context after the war, the narrator points to a fallen hero: once he penetrated deep into the Pandavas’ battle formation and fought fiercely; now he lies motionless on the warrior’s bed, emphasizing the reversal from action to stillness and inviting reflection on the cost of war.