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Shloka 7

Khāṇḍava-dāha: Indra’s Countermeasures and the Nāga Aśvasena’s Escape (आदि पर्व, अध्याय २१८)

ततो हलधर: क्षीबो रेवतीसहित: प्रभु: । अनुगम्यमानो गन्धर्वैरचरत्‌ तत्र भारत,द्वारकापुरीके निवासी सैकड़ों-हजारों मनुष्य अपनी स्त्रियों और सेवकोंके साथ पैदल चलकर अथवा छोटी-बड़ी सवारियोंके द्वारा आकर उस उत्सवमें सम्मिलित हुए थे। भारत! भगवान्‌ बलराम हर्षोन्मत्त होकर वहाँ रेवतीके साथ विचर रहे थे। उनके पीछे-पीछे गन्धर्व (गायक) चल रहे थे

tato haladharaḥ kṣībo revatīsahitaḥ prabhuḥ | anugamyamāno gandharvair acarat tatra bhārata ||

ครั้นแล้วพระผู้เป็นเจ้าฮลธร (พระพลราม) ผู้เปี่ยมด้วยความปีติรื่นรมย์ เสด็จดำเนินเที่ยวไป ณ ที่นั้นพร้อมพระนางเรวตี; โอ้ภารตะ เหล่าคันธรรพะเดินตามเบื้องหลัง คอยขับขานและบรรเลงดนตรีถวายการตามเสด็จ

ततःthen, thereafter
ततः:
Adhikarana
TypeIndeclinable
Rootततः
FormAvyaya (ablatival adverb)
हलधरःthe plough-bearer (Balarama)
हलधरः:
Karta
TypeNoun
Rootहलधर
FormMasculine, Nominative, Singular
क्षीबःintoxicated, exhilarated
क्षीबः:
Karta
TypeAdjective
Rootक्षीब
FormMasculine, Nominative, Singular
रेवतीwith Revati
रेवती:
Karana
TypeNoun
Rootरेवती
FormFeminine, Instrumental, Singular (in compound sense with -सहितः)
सहितःaccompanied (by)
सहितः:
Karta
TypeAdjective
Rootसहित
FormMasculine, Nominative, Singular
प्रभुःthe lord
प्रभुः:
Karta
TypeNoun
Rootप्रभु
FormMasculine, Nominative, Singular
अनुगम्यमानःbeing followed
अनुगम्यमानः:
Karta
TypeAdjective
Rootअनु-गम्
FormMasculine, Nominative, Singular; Present passive participle (शानच्)
गन्धर्वैःby Gandharvas
गन्धर्वैः:
Karana
TypeNoun
Rootगन्धर्व
FormMasculine, Instrumental, Plural
अचरत्wandered, moved about
अचरत्:
TypeVerb
Rootचर्
FormImperfect (Laṅ), Parasmaipada, 3rd person, Singular
तत्रthere
तत्र:
Adhikarana
TypeIndeclinable
Rootतत्र
FormAvyaya (locative adverb)
भारतO Bharata
भारत:
TypeNoun
Rootभारत
FormMasculine, Vocative, Singular

वैशम्पायन उवाच

V
Vaiśampāyana
H
Haladhara (Balarāma)
R
Revatī
G
Gandharvas
B
Bhārata (addressee)

Educational Q&A

The verse highlights cultured joy: even exuberance (kṣība) is framed within companionship (Revatī-sahita) and harmonious social aesthetics (Gandharvas following with music), suggesting celebration aligned with dignity and order.

Vaiśampāyana describes Balarāma, accompanied by his wife Revatī, moving about at the festive venue while Gandharvas follow behind, implying a grand public celebration with divine participation and musical procession.