Shloka 25

Rājasūyābhiṣeka-darśana: Duryodhana’s Observation of the Consecration

Devanagari script

कमण्डलूनुपादाय जातरूपमयाउ्छुभान्‌ । एतद्‌ धनं समादाय प्रवेशं लेभिरे न च

Transliteration

kamaṇḍalūn upādāya jātarūpamayāñ śubhān | etad dhanaṃ samādāya praveśaṃ lebhire na ca ||

Translation

ဒုရ्यောဓနက ပြောသည်— «ရွှေဖြင့် ပြုလုပ်ထားသော မင်္ဂလာရေခွက် (ကမဏ္ဍလု) များကို ကိုင်ဆောင်ကာ ဤဥစ္စာကို ယူဆောင်သွားကြသော်လည်း အတွင်းသို့ ဝင်ခွင့်ကို လုံးဝ မရကြ»။

Word by Word

• कमण्डलून्: water-pots
• कमण्डलून्: Karma
• Type: Noun
• Root: कमण्डलु
• Form: Masculine, Accusative, Plural

• उपादाय: having taken up
• Type: Verb
• Root: उप-आ-दा
• Form: ल्यप् (absolutive/gerund), Parasmaipada (usage)

• जातरूपमयान्: made of gold
• जातरूपमयान्: Karma
• Type: Adjective
• Root: जातरूपमय
• Form: Masculine, Accusative, Plural

• शुभान्: auspicious, splendid
• शुभान्: Karma
• Type: Adjective
• Root: शुभ
• Form: Masculine, Accusative, Plural

• एतत्: this
• एतत्: Karma
• Type: Pronoun
• Root: एतद्
• Form: Neuter, Accusative, Singular

• धनम्: wealth, treasure
• धनम्: Karma
• Type: Noun
• Root: धन
• Form: Neuter, Accusative, Singular

• समादाय: having taken/collected
• Type: Verb
• Root: सम्-आ-दा
• Form: ल्यप् (absolutive/gerund), Parasmaipada (usage)

• प्रवेशम्: entry, admission
• प्रवेशम्: Karma
• Type: Noun
• Root: प्रवेश
• Form: Masculine, Accusative, Singular

• लेभिरे: they obtained
• Type: Verb
• Root: लभ्
• Form: लिट् (Perfect), Ātmanepada, Third, Plural

• न: not
• Type: Indeclinable
• Root: न

• च: and
• Type: Indeclinable
• Root: च

Speaker

दुर्योधन उवाच

Characters & Entities

• Duryodhana
• kamaṇḍalu (water-pot)
• jātarūpa (gold)
• dhana (wealth)
• praveśa (entry/admission)

Educational Q&A

What is the core teaching?

External signs of auspiciousness and the mere acquisition of wealth do not secure true acceptance or rightful access; ethical intent and rightful conduct matter more than possessions.

What is happening in the narrative?

Duryodhana describes a group taking golden water-pots and other wealth, yet failing to gain admission/entry—highlighting frustration and the limits of material power within the royal-court setting.