Shloka 64
Adhyāya 123 — Droṇa’s Pedagogy: Arjuna’s Preeminence, Ekalavya’s Self-Training, and the Bhāsa-Lakṣya Trial
काम्या शारद्वती चैव ननृतुस्तत्र सड्घश: । मेनका सहजन्या च कर्णिका पुज्जिकस्थला
kāmyā śāradvatī caiva nanṛtus tatra saṅghaśaḥ | menakā sahajanyā ca karṇikā puñjikāsthalā ||
قال فايشَمبايانا: «هناك، رقصت الأبسارات كاميَا وشارَدْفَتي في جماعات؛ وكذلك ميناكا، وسهَجَنْيا، وكَرْنِكا، وبونجيكاسْتهَلا.»
वैशम्पायन उवाच
Educational Q&A
The verse highlights how sensory splendor—music and dance by apsarases—can enchant the mind; ethically, it points to the importance of inner discipline so that delight does not become distraction or moral lapse.
Vaiśaṃpāyana lists apsarases present at the scene, describing them dancing together in groups, thereby painting a vivid picture of a celestial or highly exalted gathering.