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Shloka 115

अर्जुनस्य शीघ्रप्रयाणं भीम-शकुनियुद्धं च

Arjuna’s Rapid Advance and the Bhīma–Śakuni Encounter

नानावस्थाश्व योधानां बभूवुस्तत्र युद्धयताम्‌ । तदनन्तर पुनः अत्यन्त घोर एवं अद्भुत युद्ध होने लगा। वहाँ युद्ध करते हुए योद्धाओंकी विभिन्न अवस्थाएँ प्रकट होने लगीं ।।

nānāvasthāśva-yodhānāṁ babhūvus tatra yuddhayatām | tad-anantaraṁ punaḥ atyanta ghora evaṁ adbhuta yuddhaṁ hone lagā | tatra yuddhaṁ kurvatāṁ yodhānāṁ vividhā avasthāḥ prakaṭī-babhūvuḥ || 114 || ekeṣu-nihatair aśvaiḥ kāmbojair yavanaiḥ śakaiḥ

Sinabi ni Sañjaya: Doon, habang naglalaban ang mga mandirigma, nahayag ang sari-saring kalagayan at kapalaran ng mga kabalyero at mga kawal. Pagkaraan nito, ang labanan ay muling naging lubhang kakila-kilabot at kagila-gilalas; sa gitna ng sagupaan, lumitaw ang iba’t ibang anyo ng sinapit ng mga nakikipaglaban—may nananatiling matatag, may bumabagsak, may tinatamaan at napapatay. (Dito, ang salaysay ay tumutungo sa mga yaong ang mga kabayo’y pinabagsak ng mga palaso—sa hanay ng mga Kāmboja, Yavana, at Śaka.)

एकेषुin/among some (places/instances)
एकेषु:
Adhikarana
TypeAdjective
Rootएक
FormMasculine/Neuter, Locative, Plural
निहतैःby/with slain
निहतैः:
Karana
TypeAdjective
Rootनि-हन् (निहत)
FormMasculine/Neuter, Instrumental, Plural
अश्वैःhorses
अश्वैः:
Karana
TypeNoun
Rootअश्व
FormMasculine, Instrumental, Plural
काम्बोजैःby the Kambojas
काम्बोजैः:
Karana
TypeNoun
Rootकाम्बोज
FormMasculine, Instrumental, Plural
यवनैःby the Yavanas
यवनैः:
Karana
TypeNoun
Rootयवन
FormMasculine, Instrumental, Plural
शकैःby the Śakas
शकैः:
Karana
TypeNoun
Rootशक
FormMasculine, Instrumental, Plural

संजय उवाच

S
Sañjaya
K
Kāmbojas
Y
Yavanas
Ś
Śakas
H
horses
A
arrows
B
battlefield

Educational Q&A

The verse underscores the battlefield truth that fortunes shift rapidly: in war, many 'states' (avasthāḥ)—strength, panic, injury, collapse—become openly visible. Ethically, it highlights the stark cost of violence and the impermanence of power and prowess.

Sañjaya describes the battle intensifying into an extremely dreadful yet astonishing spectacle, where the differing conditions of fighters are plainly seen. The narration then turns toward a scene involving Kāmboja, Yavana, and Śaka contingents whose horses are brought down by arrows.