Shloka 18
Ūṣā-Haraṇa, Bāṇāsura’s Pride, and Aniruddha’s Capture
Prelude to Hari–Śaṅkara Conflict
मनुजेषु च सा वृष्णीन् शूरमानकदुन्दुभिम् । व्यलिखद् रामकृष्णौ च प्रद्युम्नं वीक्ष्य लज्जिता ॥ १८ ॥ अनिरुद्धं विलिखितं वीक्ष्योषावाङ्मुखी ह्रिया । सोऽसावसाविति प्राह स्मयमाना महीपते ॥ १९ ॥
manujeṣu ca sā vṛṣnīn śūram ānakadundubhim vyalikhad rāma-kṛṣṇau ca pradyumnaṁ vīkṣya lajjitā
O König, Citralekhā zeichnete unter den Menschen die Vṛṣṇis: Śūra, Ānakadundubhi, Balarāma und Śrī Kṛṣṇa. Als Ūṣā das Bild Pradyumnas sah, wurde sie verlegen; und als sie das Bild Aniruddhas erblickte, senkte sie aus Scham den Kopf und rief lächelnd: „Er ist es! Er ist es!“
Śrīla Viśvanātha Cakravartī gives this further insight: When Ūṣā saw the picture of Pradyumna, she became bashful because she thought, “This is my father-in-law.” Then she saw the picture of her lover, Aniruddha, and cried out in joy.
FAQs
This verse shows Ūṣā identifying and sketching prominent Vṛṣṇis—Śūra, Vasudeva (Ānakadundubhi), Balarāma, Kṛṣṇa, and Pradyumna—highlighting the celebrated lineage surrounding Lord Kṛṣṇa.
While sketching the figures, she became bashful upon seeing Pradyumna—an indication of awakened attraction and the tender emotions that precede the later focus on Aniruddha in this episode.
It reminds readers that powerful emotions arise naturally; the Bhagavatam frames human feelings within dharmic boundaries and ultimately connects relationships to the sacred narrative of devotion.