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Shloka 52

Bhagadatta’s Advance, the Saṃśaptaka Challenge, and Arjuna’s Counterstrike (द्रोणपर्व, अध्याय २६)

समघ्नज्छरवर्षेण रथस्थो5न्तकसंनिभ: । तब आकृतीपुत्र रुचिपर्वने तुरंत ही उस हाथीपर आक्रमण किया। वह रथपर बैठकर साक्षात्‌ यमराजके समान जान पड़ता था। उसने बाणोंकी वर्षासे उस हाथीको गहरी चोट पहुँचायी ।। ५१ $ ।। ततः स रुचिपर्वाणं शरेणानतपर्वणा

sa-maghna-cchara-varṣeṇa ratha-stho 'ntaka-sannibhaḥ | tataḥ ākṛtī-putraḥ ruci-parvaṇe tūrṇaṃ hi tasmin hastini ākrāmat | sa ratha-upaviṣṭaḥ sākṣād yama-rāja-samaḥ iva pratibhāti | sa bāṇa-varṣeṇa taṃ hastinaṃ gāḍhaṃ vyathayām āsa || 51 || tataḥ sa ruci-parvāṇaṃ śareṇānata-parvaṇā …

सञ्जय उवाच— स रथस्थोऽन्तकसन्निभः समघ्नच्छरवर्षेण रुचिपर्वणो गजं सहसा समभ्यधावत्, तं तीव्रैः शरैः समन्तात् क्षतवान्। स तदा यम इव प्रत्यक्षो बभौ; शरवृष्ट्या गजं गाढं व्यथितवान्। ततः स रुचिपर्वाणं शरेणानतपर्वणा विव्याध।

समघ्नत्he struck/beat
समघ्नत्:
TypeVerb
Rootसम् + हन्
FormImperfect (Laṅ), 3, Singular, Parasmaipada
शरवर्षेणwith a shower of arrows
शरवर्षेण:
Karana
TypeNoun
Rootशर-वर्ष
FormNeuter, Instrumental, Singular
रथस्थःstanding/being on the chariot
रथस्थः:
Karta
TypeAdjective
Rootरथस्थ
FormMasculine, Nominative, Singular
अन्तकसंनिभःlike Antaka (Death)
अन्तकसंनिभः:
Karta
TypeAdjective
Rootअन्तक-संनिभ
FormMasculine, Nominative, Singular
ततःthen/thereupon
ततः:
TypeIndeclinable
Rootततः
सःhe
सः:
Karta
TypePronoun
Rootतद्
FormMasculine, Nominative, Singular
रुचिपर्वाणम्Ruciparvan (name)
रुचिपर्वाणम्:
Karma
TypeNoun
Rootरुचिपर्वन्
FormMasculine, Accusative, Singular
शरेणwith an arrow
शरेण:
Karana
TypeNoun
Rootशर
FormMasculine, Instrumental, Singular
अनतपर्वणाhaving unbent/straight joints (of the arrow); i.e., a straight-shafted arrow
अनतपर्वणा:
Karana
TypeAdjective
Rootअनतपर्वन्
FormMasculine, Instrumental, Singular

संजय उवाच

संजय (Sañjaya)
अन्तक (Antaka/Death)
यमराज (Yamarāja)
रुचिपर्वन् (Ruciparvan)
हस्तिन् (war-elephant)
रथ (chariot)
शर/बाण (arrows)

Educational Q&A

The verse underscores the Mahābhārata’s recurring ethical tension: in war, a kṣatriya’s duty is to fight decisively, yet the narrative frames such prowess through death-imagery (Antaka/Yama), reminding the listener that violence inevitably invokes mortality and moral consequence.

Sañjaya describes a chariot-warrior who swiftly assaults Ruciparvan’s war-elephant with a thick shower of arrows, appearing like Death itself; the passage then continues by noting that he next strikes Ruciparvan with a straight, well-made arrow.