Mahabharata 9.45.15 — Shalya Parva, Adhyaya 45, Shloka 15
Kārttikeya-Abhiṣecana: Mātṛgaṇa-Nāma Saṃkīrtana and Skanda’s Commission
ऐरावत: सानुचर: कला: काष्ठास्तथैव च । मासार्धमासा ऋतवस्तथा रात्रयहनी नूप
vaiśampāyana uvāca |
airāvataḥ sānucaraḥ kalāḥ kāṣṭhās tathaiva ca |
māsārdhamāsā ṛtavas tathā rātryahanī nṛpa ||
ਵੈਸ਼ੰਪਾਯਨ ਨੇ ਆਖਿਆ—ਹੇ ਨ੍ਰਿਪ! ਸੇਵਕਾਂ ਸਮੇਤ ਐਰਾਵਤ ਵੀ ਓਥੇ ਆਇਆ; ਅਤੇ ਕਲਾ ਤੇ ਕਾਸ਼ਠਾ, ਮਹੀਨੇ, ਪੱਖ, ਰੁੱਤਾਂ, ਰਾਤ ਤੇ ਦਿਨ—ਸਮੇਂ ਦੇ ਇਹ ਸਾਰੇ ਭਾਗ ਵੀ। ਅਤੇ ਪ੍ਰਭੂ ਰੁਦ੍ਰਾਂ, ਵਸੂਆਂ, ਆਦਿਤਿਆਂ ਅਤੇ ਦੋਵੇਂ ਅਸ਼ਵਿਨੀਕੁਮਾਰਾਂ ਨਾਲ ਘਿਰਿਆ ਹੋਇਆ ਸੀ।
वैशम्पायन उवाच
Educational Q&A
By depicting even the measures of time (kalā, kāṣṭhā), the cycles of months and seasons, and day and night as ‘arriving’ in attendance, the text signals that dharma and cosmic order are not abstract ideas but living structures that uphold the world. The scene implies that certain events—especially those involving divine leadership and the protection of order—draw the whole cosmos into witness and support.
The narrator continues a grand catalogue of beings and cosmic principles assembling at one place. In this verse, Airāvata (Indra’s elephant) arrives with attendants, and the personified divisions and cycles of time—kalā, kāṣṭhā, months, half-months, seasons, and day-night—are said to be present, emphasizing the magnitude and universality of the gathering.
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