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Shloka 58

शल्यपर्व — चतुर्विंशोऽध्यायः | Śalya Parva, Chapter 24: Disruption of Kaurava Formations and the Elephant Encirclement

नरान्‌ नागान्‌ समाहत्य हयांश्वापि विशाम्पते । अपतन्त रणे बाणा: पतड़ा इव घोषिण:,प्रजानाथ! इन्द्रके वज़्की भाँति कठोर स्पर्शवाले बाण गाण्डीवसे प्रेरित हो मनुष्यों, घोड़ों और हाथियोंका भी संहार करके शब्द करनेवाले टिड्डीदलोंके समान रणभूमिमें गिर पड़ते थे

narān nāgān samāhatya hayāṁś cāpi viśāṁpate | apatanta raṇe bāṇāḥ pataṅgā iva ghoṣiṇaḥ ||

سنجے نے کہا—اے پرجاناتھ! گاندیو سے چلائے گئے، اندرا کے وجر جیسے سخت لمس والے تیر انسانوں، عظیم ہاتھیوں اور گھوڑوں کو گرا کر، شور مچاتے ٹڈی دل کی مانند میدانِ جنگ پر آ گرتے تھے۔

नरान्men
नरान्:
Karma
TypeNoun
Rootनर
FormMasculine, Accusative, Plural
नागान्elephants
नागान्:
Karma
TypeNoun
Rootनाग
FormMasculine, Accusative, Plural
समाहत्यhaving struck down / having slain
समाहत्य:
TypeVerb
Rootसम्-आ-हन्
Formक्त्वा (absolutive/gerund), Parasmaipada (usage), Non-finite
हयान्horses
हयान्:
Karma
TypeNoun
Rootहय
FormMasculine, Accusative, Plural
and
:
TypeIndeclinable
Root
अपिalso
अपि:
TypeIndeclinable
Rootअपि
विशाम्of the people/subjects
विशाम्:
TypeNoun
Rootविश्
FormFeminine, Genitive, Plural
पतेO lord
पते:
TypeNoun
Rootपति
FormMasculine, Vocative, Singular
अपतन्तfell down / swooped down
अपतन्त:
TypeVerb
Rootअव-√पत्
FormImperfect (Laṅ), Third, Plural, Parasmaipada
रणेin battle
रणे:
Adhikarana
TypeNoun
Rootरण
FormMasculine, Locative, Singular
बाणाःarrows
बाणाः:
Karta
TypeNoun
Rootबाण
FormMasculine, Nominative, Plural
पतङ्गाःlocusts
पतङ्गाः:
TypeNoun
Rootपतङ्ग
FormMasculine, Nominative, Plural
इवlike/as
इव:
TypeIndeclinable
Rootइव
घोषिणःresounding/noisy
घोषिणः:
TypeAdjective
Rootघोषिन्
FormMasculine, Nominative, Plural

संजय उवाच

S
Sañjaya
G
Gāṇḍīva (bow)
A
arrows (bāṇa)
M
men (narāḥ)
H
horses (hayāḥ)
E
elephants (nāgāḥ)
B
battlefield (raṇa)

Educational Q&A

The verse underscores the terrifying impersonality of war: when martial skill and powerful weapons are unleashed, destruction spreads rapidly and widely, overwhelming individuals like a swarm. Ethically, it highlights the Mahābhārata’s recurring tension between kṣatriya duty in battle and the human cost that such duty entails.

Sañjaya describes a fierce phase of combat in which volleys of arrows, shot from the famed bow Gāṇḍīva, strike down warriors, horses, and elephants. The arrows are depicted as falling in great numbers and making a loud, swarming sound, intensifying the scene’s violence and scale.