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Shloka 91

Kārttikeya-Abhiṣecana: Mātṛgaṇa-Nāma Saṃkīrtana and Skanda’s Commission

बहुत-से ऐसे भी थे, जिनके मुख पार्श्चभागमें स्थित थे। शरीरके विभिन्न प्रदेशोंमें मुख धारण करनेवाले पार्षदोंकी संख्या भी कम नहीं थी। भिन्न-भिन्न गणोंके अधिपति कीट- पतंगोंके समान मुख धारण करते थे ।। नानाव्यालमुखाश्चान्ये बहुबाहुशिरोधरा: । नानावृक्षभुजा: केचित्‌ कटिशीर्षास्तथा परे

nānāvyālamukhāś cānye bahubāhuśirodharāḥ | nānāvṛkṣabhujāḥ kecit kaṭiśīrṣās tathā pare ||

ไวศัมปายนะกล่าวว่า “บางพวกมีใบหน้าเป็นรูปพญางูหลากชนิด บางพวกมีแขนและศีรษะมากมาย บางพวกมีแขนดุจกิ่งก้านแห่งพฤกษานานาพันธุ์ ส่วนบางพวกศีรษะกลับตั้งอยู่ ณ บั้นเอว”

नानाvarious, many kinds of
नाना:
TypeIndeclinable
Rootनाना
व्यालमुखाःhaving mouths like serpents/beasts
व्यालमुखाः:
Karta
TypeAdjective
Rootव्यालमुख
FormMasculine, Nominative, Plural
and
:
TypeIndeclinable
Root
अन्येothers
अन्ये:
Karta
TypePronoun/Adjective
Rootअन्य
FormMasculine, Nominative, Plural
बहुबाहुशिरोधराःthose who bear many arms and heads
बहुबाहुशिरोधराः:
Karta
TypeAdjective
Rootबहुबाहुशिरोधर
FormMasculine, Nominative, Plural
नानाvarious, many kinds of
नाना:
TypeIndeclinable
Rootनाना
वृक्षभुजाःhaving arms like trees
वृक्षभुजाः:
Karta
TypeAdjective
Rootवृक्षभुज
FormMasculine, Nominative, Plural
केचित्some
केचित्:
Karta
TypePronoun
Root
FormMasculine, Nominative, Plural
कटिशीर्षाःhaving heads at the waist
कटिशीर्षाः:
Karta
TypeAdjective
Rootकटिशीर्ष
FormMasculine, Nominative, Plural
तथाthus, likewise
तथा:
TypeIndeclinable
Rootतथा
परेothers (the rest)
परे:
Karta
TypePronoun/Adjective
Rootपर
FormMasculine, Nominative, Plural

वैशम्पायन उवाच

V
Vaiśampāyana

Educational Q&A

The verse underscores how the moral and psychological extremity of war is mirrored in distorted, terrifying imagery—suggesting that when violence and adharma dominate, the world appears disordered and monstrous, warning the listener about the ethical cost of conflict.

Vaiśampāyana is describing extraordinary, fearsome forms—beings with serpent-like faces, multiple arms and heads, branch-like arms, and heads at the waist—within the Shalya Parva’s war context, intensifying the atmosphere of dread and ominous spectacle.