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Shloka 7

Tapas as the Root of Attainment (तपः—साधनमूलप्रशंसा)

नल्वमात्रपरीणाहो घनच्छायो वनस्पति: । सारिकाशुकसंजुष्ट: पुष्पवान्‌ू फलवानपि,उस वृक्षकी लंबाई चार सौ हाथकी थी। छाया बड़ी सघन थी। उसपर तोते और मैनाओंके समूह बसेरा लेते थे। वह वृक्ष फल और फूल दोनोंसे ही भरा था

nalvamātraparīṇāho ghanacchāyo vanaspatiḥ | sārikāśukasaṃjuṣṭaḥ puṣpavān phalavān api ||

Bhishma disse: “Ali erguia-se uma grande árvore; seu tronco não era de grande circunferência, mas sua sombra era densa e profunda. Bandos de mainás e papagaios a frequentavam, e ela estava carregada tanto de flores quanto de frutos.”

नल्वमात्रपरीणाहःhaving a girth of only a nalva-measure
नल्वमात्रपरीणाहः:
Karta
TypeAdjective
Rootनल्वमात्रपरीणाह
FormMasculine, Nominative, Singular
घनच्छायःhaving dense shade
घनच्छायः:
Karta
TypeAdjective
Rootघनच्छाय
FormMasculine, Nominative, Singular
वनस्पतिःtree
वनस्पतिः:
Karta
TypeNoun
Rootवनस्पति
FormMasculine, Nominative, Singular
सारिकाmynas
सारिका:
Karta
TypeNoun
Rootसारिका
FormFeminine, Nominative, Plural
शुकparrots
शुक:
Karta
TypeNoun
Rootशुक
FormMasculine, Nominative, Plural
संजुष्टःfrequented/inhabited (by)
संजुष्टः:
Karta
TypeAdjective
Rootसम् + जुष्
FormMasculine, Nominative, Singular, Past passive participle (क्त)
पुष्पवान्flower-bearing
पुष्पवान्:
Karta
TypeAdjective
Rootपुष्पवत्
FormMasculine, Nominative, Singular
and
:
TypeIndeclinable
Root
फलवान्fruit-bearing
फलवान्:
Karta
TypeAdjective
Rootफलवत्
FormMasculine, Nominative, Singular
अपिalso/even
अपि:
TypeIndeclinable
Rootअपि

भीष्म उवाच

B
Bhishma
T
tree (vanaspati)
M
mynas (sārikā)
P
parrots (śuka)
F
flowers (puṣpa)
F
fruits (phala)

Educational Q&A

The verse uses a vivid natural image to suggest that a single source of goodness and abundance can become a refuge for many. Ethically, it points toward the value of being supportive—like a flourishing tree that offers shade, food, and a dwelling-place to others.

Bhishma is describing a remarkable tree: slender in girth yet with a dense canopy, inhabited by parrots and mynas, and filled with flowers and fruits. The description functions as a scene-setting image within his broader instruction in Shanti Parva.