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Shloka 103

मार्कण्डेय उवाच सावित्री तत उत्थाय केशान्‌ संयम्य भाविनी । पतिमुत्थापयामास बाहुभ्यां परिगृह् वै,मार्कण्डेयजी कहते हैं--युधिष्ठिर! तब पतिका हितचिन्तन करनेवाली सावित्रीने उठकर अपने खुले हुए केशोंको बाँध लिया और दोनों हाथोंसे पकड़कर पतिको उठाया

Mārkaṇḍeya uvāca: Sāvitrī tata utthāya keśān saṁyamya bhāvinī | patim utthāpayām āsa bāhubhyāṁ parigṛhya vai ||

มารกัณฑยะกล่าวว่า ครั้นแล้วสาวิตรีผู้มุ่งประโยชน์แห่งสามีได้ลุกขึ้น นางรวบผมที่คลายอยู่ให้เรียบร้อย ตั้งสติให้มั่น แล้วโอบประคองสามีด้วยสองแขน ยกเขาขึ้นให้ยืน

मार्कण्डेयःMarkandeya
मार्कण्डेयः:
Karta
TypeNoun
Rootमार्कण्डेय
FormMasculine, Nominative, Singular
उवाचsaid
उवाच:
TypeVerb
Rootवच्
FormPerfect, 3rd, Singular, Parasmaipada
सावित्रीSavitri
सावित्री:
Karta
TypeNoun
Rootसावित्री
FormFeminine, Nominative, Singular
ततःthen; thereafter
ततः:
TypeIndeclinable
Rootततः
उत्थायhaving risen
उत्थाय:
TypeVerb
Rootउत्-स्था
Formक्त्वा (absolutive), Parasmaipada (usage)
केशान्hair (locks)
केशान्:
Karma
TypeNoun
Rootकेश
FormMasculine, Accusative, Plural
संयम्यhaving restrained/tied up
संयम्य:
TypeVerb
Rootसम्-यम्
Formक्त्वा (absolutive), Parasmaipada (usage)
भाविनीthe virtuous/faithful one
भाविनी:
TypeAdjective
Rootभाविनी
FormFeminine, Nominative, Singular
पतिम्husband
पतिम्:
Karma
TypeNoun
Rootपति
FormMasculine, Accusative, Singular
उत्थापयामासraised; caused to rise
उत्थापयामास:
TypeVerb
Rootउत्-स्था (णिच्) / उत्थापय्
FormPeriphrastic Perfect, 3rd, Singular, Parasmaipada
बाहुभ्याम्with (her) two arms
बाहुभ्याम्:
Karana
TypeNoun
Rootबाहु
FormMasculine, Instrumental, Dual
परिगृह्यhaving grasped/embraced
परिगृह्य:
TypeVerb
Rootपरि-ग्रह्
Formल्यप् (absolutive), Parasmaipada (usage)
वैindeed; surely
वै:
TypeIndeclinable
Rootवै

मार्कण्डेय उवाच

M
Mārkaṇḍeya
S
Sāvitrī
S
Sāvitrī's husband (Satyavān, implied by the Savitrī narrative)

Educational Q&A

The verse highlights dharma expressed as steadfast devotion and disciplined action: Savitrī maintains self-control (symbolized by tying her hair and composing herself) and immediately acts for her husband’s welfare, showing that virtue is not passive emotion but purposeful, ethical conduct in crisis.

After a critical moment in the Savitrī–Satyavān episode, Savitrī rises, gathers and binds her loosened hair, and with both arms takes hold of her husband and lifts him up—an image of practical care and resolute presence amid impending tragedy.