1.13
ततः शङ्खाश्च भेर्यश्च पणवानकगोमुखाः ।
सहसैवाभ्यहन्यन्त स शब्दस्तुमुलोऽभवत् ॥
tataḥ śaṅkhāś ca bheryaś ca paṇavānaka-gomukhāḥ
sahasā evābhyahanyanta sa śabdas tumulo 'bhavat
The Kaurava side answers Bhīṣma (भीष्म).
The verse
Then, suddenly, conches and kettledrums, paṇavas (पणव), ānakas (आनक), and horns were struck, and that sound became a roar.
नेपालीमा
त्यसपछि अचानक शङ्ख र नगरा, पणव, आनक, र सिङ बजाइए, र त्यो आवाज गर्जन भयो।
Where it sits
One grandfather's conch becomes an army's noise. tataḥ (ततः) means this noise comes out of 1.12, not out of nowhere. The next verse crosses the field. The Pāṇḍava (पाण्डव) answer will be named conch by conch, because Kṛṣṇa (कृष्ण) and Arjuna are in it.
Split: ततः + शङ्खाः + च + भेर्यः + च + पणव-आनक-गोमुखाः + सहसा + एव + अभ्यहन्यन्त + सः + शब्दः + तुमुलः + अभवत्
tataḥ + śaṅkhāḥ + ca + bheryaḥ + ca + paṇava-ānaka-gomukhāḥ + sahasā + eva + abhyahanyanta + saḥ + śabdaḥ + tumulaḥ + abhavat
Sanskrit, in depth
The words
| देवनागरी | Word | Grammar | Sense |
|---|---|---|---|
| ततः | tataḥ | indeclinable | then, from that. |
| शङ्खाः | śaṅkhāḥ | nominative plural | conches. |
| भेर्यः | bheryaḥ | nominative plural | kettledrums. |
| पणव-आनक-गोमुखाः | paṇava-ānaka-gomukhāḥ | nominative plural | paṇavas (पणव), ānakas (आनक), and gomukhas (गोमुख). Drums and war-horns. A dvandva, a list packed into one word. |
| सहसा | sahasā | indeclinable | suddenly. |
| एव | eva | indeclinable | indeed. |
| अभ्यहन्यन्त | abhyahanyanta | imperfect, 3rd plural, passive | they were struck. From abhi-han (अभि-हन्). |
| सः | saḥ | nominative of tad (तद्) | that. |
| शब्दः | śabdaḥ | nominative | sound. |
| तुमुलः | tumulaḥ | nominative | tumultuous, uproarious. |
| अभवत् | abhavat | imperfect, 3rd singular | it became, it was. |
The phrases
tataḥ śaṅkhāś ca bheryaś ca paṇavānakagomukhāḥ (ततः शङ्खाश् च भेर्यश् च पणवानकगोमुखाः) is the subject, a pile of instruments. The last word is one compound of three instruments, and only that last member wears the plural ending. śaṅkhāḥ ca (शङ्खाः च) is śaṅkhāś ca (शङ्खाश् च). bheryaḥ ca (भेर्यः च) is bheryaś ca (भेर्यश् च). The stem bherī (भेरी) makes nominative plural bheryaḥ (भेर्यः).
sahasā evābhyahanyanta (सहसा एवाभ्यहन्यन्त) is the verb. Suddenly they were struck. Instruments in Sanskrit are often "struck," not "played." अ + अ a + a joins eva (एव) and abhyahanyanta (अभ्यहन्यन्त).
sa śabdas tumulo 'bhavat (स शब्दस् तुमुलो ऽभवत्) is a second, short sentence in the same verse. That sound became a tumult. śabdaḥ (शब्दः) has become śabdas (शब्दस्) before t (त्). tumulaḥ abhavat (तुमुलः अभवत्) has become tumulo 'bhavat (तुमुलो ऽभवत्).
Sanskrit in this line
abhyahanyanta (अभ्यहन्यन्त) is passive. The instruments are the subject, and they receive the action. The ending --anta (अन्त) here is the middle/passive imperfect, third plural. Nobody is named as the striker. The army is implied.
The avagraha in tumulo 'bhavat (तुमुलो ऽभवत्) is the sign from 1.1's chart, finally doing work. अः + अ aḥ + a becomes o (ओ), and the a (अ) of abhavat (अभवत्) drops. The mark ऽ is not a sound. It is the place where a (अ) was. Read tumulaḥ abhavat (तुमुलः अभवत्) when you split, and tumulo 'bhavat (तुमुलो ऽभवत्) when you recite. The same mark will be everywhere from 1.21 on.
Say it back
Name the instruments, then the verb that says what happened to them. Passive: they were struck. Then the second sentence, including the avagraha when you split it.