Shloka 12
Āśramāgamanam — The Pāṇḍavas Arrive at Dhṛtarāṣṭra’s Hermitage
अचलो वृषकश्चैव राक्षसश्वाप्पलायुध: । बाह्विक:ः सोमदत्तश्न चेकितानश्न पार्थिव:
vaiśampāyana uvāca |
acalo vṛṣakaś caiva rākṣasaś cāpy alāyudhaḥ |
bāhlīkaḥ somadattaś ca cekitānaś ca pārthivaḥ |
karṇaḥ duryodhanaḥ śakuniḥ dhṛtarāṣṭrasya putro mahābalī duḥśāsanaś ca |
jarāsandha-kumāraḥ sahadevaḥ bhagadattaḥ parākramaḥ jala-sandhaḥ |
bhūriśravāḥ śalaḥ śalyaḥ bhrātṛbhiḥ saha vṛṣasenaḥ |
rājakumāro lakṣmaṇaḥ dhṛṣṭadyumna-putrāḥ śikhaṇḍinaḥ sarva-putrāḥ |
bhrātṛbhiḥ saha dhṛṣṭaketuḥ |
ete ca anye bahavaḥ kṣatriya-vīrāḥ saṅkhyā-bahutvān nāmato ’nukīrtitāḥ |
sarve dīpyamāna-śarīrāḥ tasmin jalāt prādurabhavan ||
वैशम्पायन बोले—अचल, वृषक, राक्षस अलायुध, राजा बाह्लीक, सोमदत्त और चेकितान; कर्ण, दुर्योधन, शकुनि तथा धृतराष्ट्रपुत्र महाबली दुःशासन; जरासंध का पुत्र सहदेव; भगदत्त, पराक्रमी जलसंध; भूरिश्रवा, शल, शल्य; भाइयों सहित वृषसेन; राजकुमार लक्ष्मण; धृष्टद्युम्न के पुत्र; शिखण्डी के सभी पुत्र; और भाइयों सहित धृष्टकेतु—ये तथा अन्य बहुत-से क्षत्रियवीर, सब के सब देदीप्यमान शरीर धारण करके उस जल से प्रकट हुए।
वैशम्पायन उवाच
Educational Q&A
The verse highlights the epic’s moral complexity: warriors from opposing sides—many associated with grave wrongdoing—are nevertheless shown reappearing with radiant bodies. This suggests that posthumous states are not a simple ledger of partisan victory or defeat, but unfold through karma, destiny, and the larger cosmic order that can transmute even violent life-stories into a different condition after death.
Vaiśampāyana lists numerous well-known kṣatriya heroes (and some rākṣasas) who, along with many unnamed warriors, manifest from the water with shining bodies. The scene functions as a mass reappearance/vision of the fallen, emphasizing their continued existence in another mode and setting the tone of closure and reflection characteristic of the Āśramavāsika section.