Shloka 4
Ādi-parva Adhyāya 97: Satyavatī’s appeal and Bhīṣma’s reaffirmation of satya
अथ गज्ज सरिच्छेष्ठा समुपायात् पितामहम् | तस्या वास: समुद्धूतं मारुतेन शशिप्रभम्,इसी समय सरिताआओंमें श्रेष्ठ गंगा ब्रह्माजीके समीप आयी। उस समय वायुके झोंकेसे उसके शरीरका चाँदनीके समान उज्ज्वल वस्त्र सहसा ऊपरकी ओर उठ गया
atha gaṅgā saricchreṣṭhā samupāyāt pitāmaham | tasyā vāsaḥ samuddhūtaṃ mārutena śaśiprabhām ||
قال فايشَمبايَنا: ثمّ إنّ الغانغا (Gaṅgā)، سيدة الأنهار، تقدّمت إلى پِتامَها (براهما). وفي تلك اللحظة، هزّتها هبّةُ ريحٍ فارتفع ثوبُها المتلألئ كضياءِ القمر فجأةً إلى أعلى.
वैशम्पायन उवाच
Educational Q&A
The verse implicitly foregrounds decorum and restraint: even a seemingly accidental exposure (caused by wind) becomes ethically significant in epic narrative, preparing the listener to judge subsequent reactions and conduct according to dharma (propriety, self-control, and respect).
Gaṅgā, described as the greatest of rivers, comes to Brahmā. As she arrives, a gust of wind lifts her moon-bright garment upward, creating a moment of heightened attention that functions as a narrative trigger for what follows.