Shloka 13

यह गदा इन शूरवीर भूपालका साथ किसी भी युद्धमें नहीं छोड़ती थी और आज स्वर्गलोकमें जाते समय भी यशस्वी नरेशका साथ नहीं छोड़ रही है ।। पश्येमां सह वीरेण जाम्बूनदविभूषिताम्‌ । शयानां शयने हम्यें भार्या प्रीतिमतीमिव,देखो, यह सुवर्णभूषित गदा इन वीर भूपालके साथ रणशय्यापर उसी प्रकार सो रही है, जैसे महलमें प्रेम रखनेवाली पत्नी इनके साथ सोया करती थी

paśyemāṃ saha vīreṇa jāmbūnadavibhūṣitām | śayānāṃ śayane harmye bhāryā prītimatīm iva ||

Disse Kripa: “Vede esta maça, adornada com ouro de Jāmbūnada. Ela jaz ao lado do herói em seu leito de batalha, como se fosse uma esposa amorosa deitada com ele num leito palaciano. Esta arma, que nunca o abandonou em guerra alguma, tampouco o abandona agora, quando o rei afamado parte para o céu.”

पश्यsee (behold)!
पश्य:
TypeVerb
Rootपश्
Formलोट्, मध्यम, एकवचन, परस्मैपद
इमाम्this (her/this one)
इमाम्:
Karma
TypePronoun
Rootइदम्
Formस्त्रीलिङ्ग, द्वितीया, एकवचन
सहtogether with
सह:
TypeIndeclinable
Rootसह
वीरेणwith the hero
वीरेण:
Karana
TypeNoun
Rootवीर
Formपुंलिङ्ग, तृतीया, एकवचन
जाम्बूनद-विभूषिताम्adorned with Jāmbūnada-gold
जाम्बूनद-विभूषिताम्:
TypeAdjective
Rootजाम्बूनदविभूषित
Formस्त्रीलिङ्ग, द्वितीया, एकवचन
शयानाम्lying (reclining)
शयानाम्:
TypeVerb
Rootशी (शय)
Formशतृ (वर्तमान कृदन्त), स्त्रीलिङ्ग, द्वितीया, एकवचन
शयनेon the bed
शयने:
Adhikarana
TypeNoun
Rootशयन
Formनपुंसकलिङ्ग, सप्तमी, एकवचन
हर्म्येin the palace/mansion
हर्म्ये:
Adhikarana
TypeNoun
Rootहर्म्य
Formनपुंसकलिङ्ग, सप्तमी, एकवचन
भार्याa wife
भार्या:
Karta
TypeNoun
Rootभार्या
Formस्त्रीलिङ्ग, प्रथमा, एकवचन
प्रीतिमतीloving, affectionate
प्रीतिमती:
TypeAdjective
Rootप्रीतिमत्
Formस्त्रीलिङ्ग, प्रथमा, एकवचन
इवlike, as if
इव:
TypeIndeclinable
Rootइव

कृप उवाच

K
Kṛpa (speaker)
G
gadā (mace)
V
vīra (the fallen hero/king, unnamed here)
S
svargaloka (heaven, in the prose context)
J
Jāmbūnada (gold)

Educational Q&A

The verse highlights steadfast loyalty and identity through dharma: a warrior’s defining companion—his weapon—remains with him even in death. It evokes the ethical weight of kṣatriya life, where honor, duty, and the instruments of war are inseparable, while also underscoring the tragedy and intimacy of battlefield loss.

Kṛpa points to the fallen king/hero on the battlefield and draws a poignant comparison: the gold-adorned mace lies beside him on the ‘bed of arrows/battle,’ like a loving wife beside her husband in a palace. The image intensifies the scene’s grief and reverence for the warrior’s fame as he is imagined to be going to heaven.