Shloka 38
जतुगृहदाहः — The Burning of the Lac House and the Pāṇḍavas’ Concealed Escape
अभिषिक्तो$डूराज्ये स श्रिया युक्तो महाबल: । (समौलिहारकेयूरै: सहस्ताभरणाडूदै: । राजलिड्जैस्तथान्यैश्न भूषितो भूषणै: शुभे: ।।) सच्छत्रवालव्यजनो जयशब्दोत्तरेण च,वैशम्पायनजी कहते हैं--राजन्! तदनन्तर दुर्योधनने राजा धृतराष्ट्र और गंगानन्दन भीष्मकी आज्ञा ले ब्राह्मणोंद्वारा अभिषेकका सामान मँगवाया। फिर उसी समय महाबली एवं महारथी कर्णको सोनेके सिंहासनपर बिठाकर मन्त्रवेत्ता ब्राह्मणोंने लावा और फूलोंसे युक्त सुवर्णमय कलशोंके जलसे अंगदेशके राज्यपर अभिषिक्त किया। तब मुकुट, हार, केयूर, कंगन, अंगद, राजोचित चिह्न तथा अन्य शुभ आभूषणोंसे विभूषित हो वह छत्र, चँवर तथा जय-जयकारके साथ राज्यश्रीसे सुशोभित होने लगा
abhīṣikto 'ṅgarājye sa śriyā yukto mahābalaḥ | (samauḷihārakeyūraiḥ sahastābharaṇāṅgadaiḥ | rājaliṅgais tathānyaiś ca bhūṣito bhūṣaṇaiḥ śubhaiḥ ||) sacchatravālavyajano jayaśabdottareṇa ca |
Vaiśampāyana said: He was consecrated as king of Aṅga, endowed with royal fortune and great strength. Adorned with auspicious ornaments—diadem and garlands, armlets and bracelets, finger-rings and shoulder-ornaments—together with the insignia of kingship and other regal decorations, he shone in sovereignty. With a fine parasol, garlands and fans, and amid cries of victory, he appeared resplendent in the majesty of rule—an image of worldly honor that also hints at the epic’s ethical tension: external consecration and acclaim do not by themselves certify inner righteousness or just cause.
वैशम्पायन उवाच
Educational Q&A
The verse foregrounds the contrast between outward markers of authority—anointment, ornaments, insignia, and public acclaim—and the deeper ethical question central to the Mahābhārata: true legitimacy and dharma are not guaranteed by ceremony or splendor alone.
A powerful figure is formally installed as king of Aṅga and publicly honored with royal ornaments, insignia, parasol and fans, while victory-cries are raised—depicting a politically significant elevation and the public recognition of sovereignty.