Shloka 45
Vasiṣṭhasya śokaḥ, Vipāśā–Śatadrū-nāmākaraṇam, Kalmāṣapādasya bhaya-prasaṅgaḥ (Ādi Parva 167)
श्यामा पद्मपलाशाक्षी नीलकुज्चितमूर्थजा । ताम्रतुज़्नखी सुभ्रूश्षारूपीनपयोधरा,उसके शरीरकी कान्ति श्याम थी। नेत्र ऐसे जान पड़ते मानो खिले हुए कमलके दल हों। केश काले-काले और घुँघराले थे। नख उभरे हुए और लाल रंगके थे। भौंहें बड़ी सुन्दर थीं। दोनों उरोज स्थूल और मनोहर थे
śyāmā padmapalāśākṣī nīlakuñcitamūrdhajā | tāmratuṅganakhī subhrūḥ sā rūpiṇī payodharā ||
قال البراهمن: «كانت داكنةَ اللون. وكانت عيناها كبتلاتِ لوتسٍ متفتّحٍ تمامًا. وشَعرُها أسودُ مُجعَّد. وأظفارُها بارزةٌ تميل إلى الحمرةِ النحاسية. وحاجباها مرسومان في غايةِ الإتقان، وثدياها ممتلئان مُبهجان للنظر».
ब्राह्मण उवाच
Educational Q&A
The verse itself is primarily descriptive, but in the Mahābhārata such idealized physical portrayal often functions as a narrative trigger: it can illuminate how sensory attraction arises and thereby sets the stage for ethical testing—whether one remains governed by dharma and restraint or is led by fascination and desire.
A brāhmaṇa speaker is describing a woman’s appearance in detail—complexion, eyes, hair, nails, eyebrows, and breasts—using conventional Sanskrit poetic compounds. This kind of portrait typically introduces or intensifies a situation where the listener’s response to beauty becomes significant for the unfolding story.