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Shloka 16

स्त्रीपर्व — गान्धारीविलापः

Strī Parva — Gāndhārī’s Lament over the Fallen

प्रविश्य समरे शूर: पाण्डवानामनीकिनीम्‌ | स वीरशयमने शेते पर: सत्पुरुषोचिते,जो शूरवीर समरांगणमें पाण्डवोंकी सेनाके भीतर घुसकर लोहा लेता था, वही आज सत्पुरुषोचित वीरशय्यापर शयन कर रहा है

praviśya samare śūraḥ pāṇḍavānām anīkinīm | sa vīraśayyam āne śete paraḥ satpuruṣocite ||

वैशम्पायन उवाच—प्रविश्य समरे शूरः पाण्डवानामनीकिनीम्। स वीरशयमने शेते परः सत्पुरुषोचिते॥

प्रविश्यhaving entered
प्रविश्य:
Karta
TypeVerb
Rootप्र-विश्
Formल्यप् (क्त्वा-प्रत्यय), कर्तरि, पूर्वकाल (absolutive)
समरेin battle
समरे:
Adhikarana
TypeNoun
Rootसमर
FormMasculine, Locative, Singular
शूरःthe hero/brave man
शूरः:
Karta
TypeNoun
Rootशूर
FormMasculine, Nominative, Singular
पाण्डवानाम्of the Pāṇḍavas
पाण्डवानाम्:
Adhikarana
TypeNoun
Rootपाण्डव
FormMasculine, Genitive, Plural
अनीकिनीम्army/host
अनीकिनीम्:
Karma
TypeNoun
Rootअनीकिनी
FormFeminine, Accusative, Singular
सःhe
सः:
Karta
TypePronoun
Rootतद्
FormMasculine, Nominative, Singular
वीरशयमनेon the hero’s bed (heroic couch)
वीरशयमने:
Adhikarana
TypeNoun
Rootवीर-शयमन
FormNeuter, Locative, Singular
शेतेlies/reposes
शेते:
Karta
TypeVerb
Rootशी
Formलट्, आत्मनेपद, Third, Singular, Present
परःsupreme/excellent
परः:
Karta
TypeAdjective
Rootपर
FormMasculine, Nominative, Singular
सत्पुरुषोचितेbefitting a good man/noble person
सत्पुरुषोचिते:
Adhikarana
TypeAdjective
Rootसत्-पुरुष-उचित
FormNeuter, Locative, Singular

वैशम्पायन उवाच

V
Vaiśampāyana
P
Pandavas
P
Pandava army (anīkinī)
V
vīraśayyā (warrior’s bed)

Educational Q&A

The verse highlights the ethical ideal that true valor culminates in an honorable end: the same warrior who was fierce in combat is now portrayed as resting on a ‘vīraśayyā,’ a dignified death-bed suited to a satpuruṣa (noble person). It frames death not merely as defeat but as a moral reckoning of one’s warrior-life.

In the Strī Parva’s lamentation context after the war, the narrator points to a fallen hero: once he penetrated deep into the Pandavas’ battle formation and fought fiercely; now he lies motionless on the warrior’s bed, emphasizing the reversal from action to stillness and inviting reflection on the cost of war.