Shloka 62
Kailāsa-darśana, Badarī-vāsa, and Sarasvatī–Dvaitavana Transition (कैलासदर्शन–बदरीवास–सरस्वतीद्वैतवनगमनम्)
विनदन्त्यः स्त्रिय: सर्वा निष्पेतुर्नगराद् बहि: प्रकीर्णकेश्यो व्यथिता: कुरर्य इव दुखिता:,उस आकाशवर्ती नगरका विध्वंस और दानवोंका संहार हो जानेपर वहाँकी सारी स्त्रियाँ विलाप करती हुई नगरसे बाहर निकल आयीं। उनके केश बिखरे हुए थे। वे दुःख और व्यथामें डूबी हुई कुररीकी भाँति करुण-क्रन्दन करती थीं
vinadantyaḥ striyaḥ sarvā niṣpetur nagarād bahiḥ | prakīrṇakeśyo vyathitāḥ kurarya iva duḥkhitāḥ ||
Depois da devastação da cidade e da destruição dos demônios, todas as mulheres daquele lugar, chorando em altos brados, precipitaram-se para fora dos limites da cidade. Com os cabelos desgrenhados e o coração abalado pela dor, clamavam piedosamente como aves kurarī—imagem do lamento impotente após a violência e a perda.
अजुन उवाच
Educational Q&A
The verse foregrounds the human cost of conflict: even when hostile forces are destroyed, the aftermath is marked by grief among the vulnerable. It implicitly urges ethical reflection—victory and destruction do not erase suffering, and compassion is required in the wake of violence.
Following the ruin of the city and the slaying of the demons (as indicated by the contextual gloss), the city’s women pour out of the gates, crying loudly. Their dishevelled appearance and the kurarī-bird simile emphasize intense, helpless mourning.