Shloka 11

Devanagari script

शुज्भारवेषा: सुश्रोण्यो हारैर्युक्ता मनोहरै: । हावभावसमायुक्ता: सर्वा: सौन्दर्यशोभिता:

Transliteration

śubhābharaṇaveṣāḥ suśroṇyo hārair yuktā manoharaiḥ | hāvabhāvasamāyuktāḥ sarvāḥ saundaryaśobhitāḥ |

Translation

শুভ অলংকার ও শৃঙ্গারোচিত বেশে সজ্জিত, মনোহর হার পরিহিতা, হাবভাব-সমন্বিতা, সৌন্দর্যে দীপ্ত সকল সুস্রোণী নারীগণ—(যাও)।

Word by Word

• शुभ-भार-वेषाः: having auspicious/heavy (ornate) attire
• शुभ-भार-वेषाः: Karta
• Type: Adjective
• Root: शुभ + भार + वेष
• Form: Feminine, Nominative, Plural

• सु-श्रोण्यः: women with beautiful hips
• सु-श्रोण्यः: Karta
• Type: Noun
• Root: सुश्रोणि
• Form: Feminine, Nominative, Plural

• हारैः: with necklaces/garlands
• हारैः: Karana
• Type: Noun
• Root: हार
• Form: Masculine, Instrumental, Plural

• युक्ताः: adorned/connected
• युक्ताः: Karta
• Type: Adjective
• Root: युज् (क्त)
• Form: Feminine, Nominative, Plural

• मनोहरैः: charming
• मनोहरैः: Karana
• Type: Adjective
• Root: मनोहर
• Form: Masculine, Instrumental, Plural

• हाव-भाव-समायुक्ताः: endowed with gestures and expressions
• हाव-भाव-समायुक्ताः: Karta
• Type: Adjective
• Root: हाव + भाव + समायुक्त
• Form: Feminine, Nominative, Plural

• सर्वाः: all
• सर्वाः: Karta
• Type: Adjective
• Root: सर्व
• Form: Feminine, Nominative, Plural

• सौन्दर्य-शोभिताः: beauty-adorned / beautified
• सौन्दर्य-शोभिताः: Karta
• Type: Adjective
• Root: सौन्दर्य + शोभित
• Form: Feminine, Nominative, Plural

Speaker

शल्य उवाच

Characters & Entities

• Śalya
• Viśvarūpa
• varāṅganāḥ (courtesans/entertainer-women)
• hāra (necklaces)

Educational Q&A

What is the core teaching?

The verse highlights how fear and mental agitation can drive a person toward ethically questionable means—here, using seduction and performance to control another. It implicitly warns that an unsettled mind (asvastha-citta) seeks quick relief, often by manipulating others rather than cultivating steadiness and discernment.

What is happening in the narrative?

Śalya addresses a group of courtesans/entertainer-women, instructing them—adorned with jewelry, dress, and practiced gestures—to go and entice a man named Viśvarūpa. He frames this as a way to calm his own intense fear and mental distress, urging them to act quickly.