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 ||
ବୈଶମ୍ପାୟନ କହିଲେ—ଅଚଳ, ବୃଷକ, ରାକ୍ଷସ ଅଲାୟୁଧ, ରାଜା ବାହ୍ଲୀକ, ସୋମଦତ୍ତ ଓ ଚେକିତାନ; କର୍ଣ୍ଣ, ଦୁର୍ଯ୍ୟୋଧନ, ଶକୁନି ଏବଂ ଧୃତରାଷ୍ଟ୍ରପୁତ୍ର ମହାବଳୀ ଦୁଃଶାସନ; ଜରାସନ୍ଧଙ୍କ ପୁତ୍ର ସହଦେବ; ଭଗଦତ୍ତ, ପରାକ୍ରମୀ ଜଲସନ୍ଧ; ଭୂରିଶ୍ରବା, ଶଲ, ଶଲ୍ୟ; ଭାଇମାନଙ୍କ ସହିତ ବୃଷସେନ; ରାଜକୁମାର ଲକ୍ଷ୍ମଣ; ଧୃଷ୍ଟଦ୍ୟୁମ୍ନଙ୍କ ପୁତ୍ରମାନେ; ଶିଖଣ୍ଡୀଙ୍କ ସମସ୍ତ ପୁତ୍ର; ଏବଂ ଭାଇମାନଙ୍କ ସହିତ ଧୃଷ୍ଟକେତୁ—ଏମାନେ ଓ ଅନ୍ୟ ଅନେକ ବୀର କ୍ଷତ୍ରିୟ, ସମସ୍ତେ ଦୀପ୍ତିମାନ ଦେହ ଧାରଣ କରି ସେହି ଜଳରୁ ପ୍ରକଟ ହେଲେ।
वैशम्पायन उवाच
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.