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Shloka 60

Kaurava Mobilization at Kurukṣetra (Duryodhana Orders War Preparations) / कुरुक्षेत्रे धार्तराष्ट्र-सैन्यसज्जा

उपप्लव्ये तु पाञ्चाली द्रौपदी सत्यवादिनी । सह स्त्रीभिर्निववृते दासीदाससमावृता,पांचालराजकुमारी सत्यवादिनी द्रौपदी दास-दासियोंसे घिरी हुई कुछ दूरतक महाराजके साथ गयी। फिर सभी स्त्रियोंके साथ उपप्लव्य नगरमें लौट आयी

upaplavyē tu pāñcālī draupadī satyavādinī | saha strībhiḥ nivavṛte dāsīdāsasamāvṛtā ||

Затем в Упаплавье Панчали Драупади, прославленная правдивой речью, возвратилась вместе с женщинами, окружённая служанками и прислужниками. Повествование подчёркивает её достоинство и стойкость в истине даже среди царских передвижений и предвоенного напряжения.

उपप्लव्येin Upaplavya
उपप्लव्ये:
Adhikarana
TypeNoun
Rootउपप्लव्य (नगरनाम)
FormNeuter, Locative, Singular
तुbut/indeed
तु:
TypeIndeclinable
Rootतु
पाञ्चालीthe Panchala princess (Draupadi)
पाञ्चाली:
Karta
TypeNoun
Rootपाञ्चाली
FormFeminine, Nominative, Singular
द्रौपदीDraupadi
द्रौपदी:
Karta
TypeNoun
Rootद्रौपदी
FormFeminine, Nominative, Singular
सत्यवादिनीtruth-speaking
सत्यवादिनी:
TypeAdjective
Rootसत्यवादिन्
FormFeminine, Nominative, Singular
सहtogether with
सह:
TypeIndeclinable
Rootसह
स्त्रीभिःwith women
स्त्रीभिः:
Karana
TypeNoun
Rootस्त्री
FormFeminine, Instrumental, Plural
निववृतेreturned/turned back
निववृते:
TypeVerb
Rootनि + वृत्
FormPerfect (Liṭ), 3rd, Singular, Ātmanepada
दासीby/with maidservants (female slaves)
दासी:
Karana
TypeNoun
Rootदासी
FormFeminine, Instrumental, Plural
दासby/with servants (male slaves)
दास:
Karana
TypeNoun
Rootदास
FormMasculine, Instrumental, Plural
समावृताsurrounded/encircled
समावृता:
TypeAdjective
Rootसम् + आ + वृत्
FormFeminine, Nominative, Singular, क्त (past passive participle)

वैशम्पायन उवाच

V
Vaiśampāyana
D
Draupadī
P
Pāñcāla (as epithet: Pāñcālī)
U
Upaplavya
W
women attendants (striyaḥ)
M
maidservants and servants (dāsī-dāsa)

Educational Q&A

The verse foregrounds satya (truthfulness) as a defining virtue: Draupadī is explicitly marked as satyavādinī, suggesting that ethical steadiness and truthful speech remain central even in politically charged, pre-war circumstances.

Vaiśampāyana narrates that Draupadī, the Pāñcāla princess, is at Upaplavya and then returns with the women of her retinue, attended by servants—depicting a formal royal movement and her composed presence within the household and courtly setting.