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Shloka 16

Ulūka’s Provocation and Keśava’s Counter-Message (उलूकदूत्ये केशवप्रत्युत्तरम्)

मार्जार: किल दुष्टात्मा निश्रेष्ट: सर्वकर्मसु । ऊर्ध्वबाहुः स्थितो राजन्‌ गड्भातीरे कदाचन,“राजन! यह प्रसिद्ध है कि किसी समय एक दुष्ट बिलाव दोनों भुजाएँ ऊपर किये गंगाजीके तटपर खड़ा रहा। वह किसी भी कार्यके लिये तनिक भी चेष्टा नहीं करता था

mārjāraḥ kila duṣṭātmā niśreṣṭhaḥ sarvakarmasu | ūrdhvabāhuḥ sthito rājan gaṅgātīre kadācana ||

Wika ni Sañjaya: “O Hari, tanyag na minsan ay may isang pusang masama ang loob, hamak sa lahat ng asal, na tumayo sa pampang ng Ilog Gaṅgā na nakataas ang dalawang unahang paa. Wala itong pinagsikapang gawain—nagpapanggap lamang na tila nagsasagawa ng pag-aayuno at pagtitika.”

मार्जारःcat
मार्जारः:
Karta
TypeNoun
Rootमार्जार
FormMasculine, Nominative, Singular
किलindeed, it is said
किल:
TypeIndeclinable
Rootकिल
दुष्टात्माevil-souled one
दुष्टात्मा:
Karta
TypeNoun
Rootदुष्टात्मन्
FormMasculine, Nominative, Singular
निश्रेष्टःinactive; not exerting (lit. not striving)
निश्रेष्टः:
Karta
TypeAdjective
Rootनिश्रेष्ठ
FormMasculine, Nominative, Singular
सर्वकर्मसुin all actions
सर्वकर्मसु:
Adhikarana
TypeNoun
Rootसर्वकर्मन्
FormNeuter, Locative, Plural
ऊर्ध्वबाहुःwith arms raised upward
ऊर्ध्वबाहुः:
Karta
TypeAdjective
Rootऊर्ध्वबाहु
FormMasculine, Nominative, Singular
स्थितःstood; was standing
स्थितः:
Karta
TypeVerb
Rootस्था
Formक्त (past passive participle), Masculine, Nominative, Singular
राजन्O king
राजन्:
TypeNoun
Rootराजन्
FormMasculine, Vocative, Singular
गङ्गातीरेon the bank of the Ganga
गङ्गातीरे:
Adhikarana
TypeNoun
Rootगङ्गातीर
FormNeuter, Locative, Singular
कदाचनonce; at some time
कदाचन:
TypeIndeclinable
Rootकदाचन

संजय उवाच

S
Sañjaya
D
Dhṛtarāṣṭra (implied by 'rājan')
M
mārjāra (cat)
G
Gaṅgā river

Educational Q&A

The verse introduces a moral exemplum: outward displays of austerity or piety can conceal a corrupt nature. Ethical judgment should be based on conduct and intent, not merely on ascetic postures or public appearance.

Sañjaya begins recounting a well-known story: a wicked cat stands on the Gaṅgā’s bank with raised forelegs, adopting the look of a renunciant. The scene sets up a critique of deceptive religiosity and prepares for the cat’s ulterior motive in the ensuing tale.