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Shloka 27

कर्णेन युधिष्ठिरानीकविदारणम् / Karṇa’s Breach of Yudhiṣṭhira’s Battle-Line

सूर्याचन्द्रमसौ कृत्वा चक्रे रथवरोत्तमे | पक्षौ पूर्वापरौ तत्र कृते सत्यहनी शुभे,उस श्रेष्ठ रथमें सूर्य और चन्द्रमाको दोनों पहिये बनाकर सुन्दर रात्रि और दिनको वहाँ पूर्वपक्ष और अपरपक्षके रूपमें प्रतिष्ठित किया

sūryācandramasau kṛtvā cakre rathavarottame | pakṣau pūrvāparau tatra kṛte satyahanī śubhe ||

Duryodhana nói: “Trên cỗ chiến xa tối thượng ấy, người ta đã lấy Mặt Trời và Mặt Trăng làm hai bánh xe; rồi đặt đôi rực sáng—ngày và đêm—làm hai nửa (phần trước và phần sau), như thể dựng lập ngay trật tự của thời gian trên cỗ xe ấy.”

सूर्यthe sun
सूर्य:
Karma
TypeNoun
Rootसूर्य
FormMasculine, Accusative, Singular
चन्द्रमसौthe two moons / moon (as one of a pair)
चन्द्रमसौ:
Karma
TypeNoun
Rootचन्द्रमस्
FormMasculine, Accusative, Dual
कृत्वाhaving made
कृत्वा:
TypeVerb
Rootकृ
Formक्त्वा, Parasmaipada (usage), Absolutive (gerund)
चक्रेmade / fashioned
चक्रे:
TypeVerb
Rootकृ
FormLiṭ (Perfect), Ātmanepada, Third, Singular
रथवर-उत्तमेin the best of excellent chariots
रथवर-उत्तमे:
Adhikarana
TypeNoun
Rootरथवर + उत्तम
FormMasculine, Locative, Singular
पक्षौthe two halves/fortnights (wings/sides)
पक्षौ:
Karma
TypeNoun
Rootपक्ष
FormMasculine, Accusative, Dual
पूर्व-अपरौthe former and the latter
पूर्व-अपरौ:
TypeAdjective
Rootपूर्व + अपर
FormMasculine, Accusative, Dual
तत्रthere
तत्र:
Adhikarana
TypeIndeclinable
Rootतत्र
कृतेwhen (it was) made / in the made (state)
कृते:
Adhikarana
TypeVerb
Rootकृ
Formक्त, Masculine, Locative, Singular
सत्यहनीin Satyahan (proper name)
सत्यहनी:
Adhikarana
TypeNoun
Rootसत्यहन्
FormMasculine, Locative, Singular
शुभेauspicious
शुभे:
TypeAdjective
Rootशुभ
FormMasculine, Locative, Singular

दुर्योधन उवाच

D
Duryodhana
S
Sun (Sūrya)
M
Moon (Candra/Candramas)
C
chariot (ratha)
W
wheels (cakra)
D
day and night (ahanī)

Educational Q&A

The verse uses cosmic symbolism to convey overwhelming martial magnificence: by imagining the Sun and Moon as wheels and day–night as paired halves, it frames royal power as aspiring to encompass the very order of time—an image that also hints at the ethical danger of pride when worldly might is equated with cosmic authority.

Duryodhana is describing (in heightened, poetic terms) an extraordinarily splendid chariot, portraying it as so grand that its parts can be likened to celestial bodies and the cycle of day and night, thereby exalting the warrior’s martial presence on the battlefield.