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Shloka 21

आदि पर्व — खाण्डवदाह प्रसङ्गः: पावकस्य याचनं तथा इन्द्रवर्षनिवारणोपायः

Adi Parva — Khāṇḍava episode: Agni’s request and the means to resist Indra’s rain

यौगपद्येन तं विप्रमभ्यगच्छाम भारत । गायन्त्यो5थ हसन्त्यश्न लोभयित्वा च त॑ द्विजम्‌,भारत! मैं, सौरभेयी, समीची, बुदबुदा और लता--पाँचों एक ही साथ उन ब्राह्मणके समीप गयीं और उन्हें लुभाती हुई हँसने तथा गाने लगीं

yaugapadyena taṃ vipram abhyagacchāma bhārata | gāyantyo 'tha hasantyaś ca lobhayitvā ca taṃ dvijam ||

ไวศัมปายนะกล่าวว่า “โอ้ภารตะ พวกเราทั้งหมดไปถึงพราหมณ์ผู้นั้นพร้อมกันในคราเดียว แล้วจึงขับร้องและหัวเราะ พยายามยั่วยวนทวิชผู้นั้น”

यौगपद्येनsimultaneously, at the same time
यौगपद्येन:
Karana
TypeNoun
Rootयौगपद्य
FormNeuter, Instrumental, Singular
तम्him
तम्:
Karma
TypePronoun
Rootतद्
FormMasculine, Accusative, Singular
विप्रम्the brahmin
विप्रम्:
Karma
TypeNoun
Rootविप्र
FormMasculine, Accusative, Singular
अभ्यगच्छामwe approached
अभ्यगच्छाम:
Karta
TypeVerb
Rootअभि + गम्
FormImperfect (Lan), First, Plural
भारतO Bharata
भारत:
Adhikarana
TypeNoun
Rootभारत
FormMasculine, Vocative, Singular
गायन्त्यःsinging
गायन्त्यः:
Karta
TypeVerb
Rootगायत् (from धातु: गै)
FormFeminine, Nominative, Plural
अथthen
अथ:
Adhikarana
TypeIndeclinable
Rootअथ
हसन्त्यःlaughing
हसन्त्यः:
Karta
TypeVerb
Rootहसत् (from धातु: हस्)
FormFeminine, Nominative, Plural
अश्नwe ate
अश्न:
Karta
TypeVerb
Rootअश्
FormImperfect (Lan), First, Plural
लोभयित्वाhaving enticed
लोभयित्वा:
Karana
TypeVerb
Rootलुभ् (causative: लोभय-)
FormAbsolutive (क्त्वा)
and
:
Adhikarana
TypeIndeclinable
Root
तम्him
तम्:
Karma
TypePronoun
Rootतद्
FormMasculine, Accusative, Singular
द्विजम्the twice-born (brahmin)
द्विजम्:
Karma
TypeNoun
Rootद्विज
FormMasculine, Accusative, Singular

वैशम्पायन उवाच

V
Vaiśampāyana
B
Bhārata (Janamejaya as addressee)
V
vipra (a brāhmaṇa)
D
dvija (the same brāhmaṇa, as ‘twice-born’)

Educational Q&A

The verse highlights an ethical tension central to dharma-literature: attempts to lure a brāhmaṇa through entertainment and allure test self-restraint (saṃyama) and integrity. It implicitly foregrounds the value placed on disciplined conduct and the dangers of manipulation through pleasure.

A group of women (implied by the feminine plural participles ‘singing’ and ‘laughing’) approach a brāhmaṇa together and try to entice him by singing and laughter, setting up a situation of temptation and moral testing.