Shloka 45
Aṣṭāvakra–Strī-saṃvāda: Dhṛti, hospitality, and a dispute on autonomy
मनोहरा सुकेशी च सुमुखी हासिनी प्रभा । विद्युता प्रशमी दान्ता विद्योता रतिरेवच,तदनन्तर उर्वरा, मिश्रकेशी, रम्भा, उर्वशी, अलम्बुषा, घृताची, चित्रा, चित्रांगदा, रुचि, मनोहरा, सुकेशी, सुमुखी, हासिनी, प्रभा, विद्युता, प्रशमी, दान्ता, विद्योता और रति-ये तथा और भी बहुत-सी शुभलक्षणा अप्सराएँ नृत्य करने लगीं और गन्धर्वगण नाना प्रकारके बाजे बजाने लगे
manoharā sukeśī ca sumukhī hāsinī prabhā | vidyutā praśamī dāntā vidyotā ratir eva ca ||
Dijo Bhishma: Manoharā, Sukeśī, Sumukhī, Hāsinī, Prabhā, Vidyutā, Praśamī, Dāntā, Vidyotā y Rati—éstas y muchas otras apsaras de signos auspiciosos—comenzaron a danzar, mientras los gandharvas tocaban diversos instrumentos musicales.
भीष्म उवाच
Educational Q&A
The verse primarily paints a scene of celestial entertainment; in the broader Anuśāsana context, such depictions commonly function as a foil to dharma—reminding the listener that pleasure and splendor are powerful attractions, yet the ethical ideal praised by Bhishma is steadiness, restraint, and right conduct rather than being carried away by sensory charm.
Bhishma enumerates several apsarases by name and states that they begin dancing, while gandharvas accompany them with varied instrumental music—depicting a heavenly or courtly spectacle of song and dance.