Shloka 32
Mātali’s Arrival and Arjuna’s Ascent toward Amarāvatī (मातलिसंयुक्तरथागमनम् तथा इन्द्रलोकगमनारम्भः)
महाकटितटश्रोण्य: कम्पमानै: पयोधरै: । कटाक्षहावमारधुर्यैश्वेतोबुद्धिमनोहरै:,घृताची, मेनका, रम्भा, पूर्वचित्ति, स्वयंप्रभा, उर्वशी, मिश्रकेशी, दण्डगौरी, वरूथिनी, गोपाली, सहजन्या, कुम्भयोनि, प्रजागरा, चित्रसेना, चित्रलेखा, सहा और मधुरस्वरा--ये तथा और भी सहसीरों अप्सराएँ वहाँ इन्द्रसभामें भिन्न-भिन्न स्थानोंपर नृत्य करने लगीं। वे कमललोचना अप्सराएँ सिद्ध पुरुषोंके भी चित्तको प्रसन्न करनेमें संलग्न थीं। उनके कटि- प्रदेश और नितम्ब विशाल थे। नृत्य करते समय उनके उन्नत स्तन कम्पमान हो रहे थे। उनके कटाक्ष, हाव-भाव तथा माधुर्य आदि मन, बुद्धि एवं चित्तकी सम्पूर्ण वृत्तियोंका अपहरण कर लेते थे
vaiśampāyana uvāca | mahākaṭitaṭaśroṇyaḥ kampamānaiḥ payodharaiḥ | kaṭākṣahāvamādhuryaiś ceto-buddhi-mano-haraiḥ | ghṛtācī menakā rambhā pūrvacittiḥ svayaṃprabhā | urvaśī miśrakeśī daṇḍagaurī varūthinī | gopālī sahajanyā kumbhayoniḥ prajāgarā | citrasenā citralekhā tathā madhurasvarādayaḥ | anyāś ca bahvyo 'psarasa indrasabhāyāṃ pṛthak pṛthag deśeṣu nṛtyituṃ pravavṛtuḥ | tāḥ kamalalocanā apsarasaḥ siddhānām api cittaṃ praharṣayituṃ pravṛttāḥ |
Vaiśampāyana said: With broad waists and ample hips, their breasts trembling as they danced, and with sidelong glances, graceful gestures, and sweetness that could steal away the mind, intellect, and heart—Ghṛtācī, Menakā, Rambhā, Pūrvacitti, Svayaṃprabhā, Urvaśī, Miśrakeśī, Daṇḍagaurī, Varūthinī, Gopālī, Sahajanyā, Kumbhayoni, Prajāgarā, Citrasenā, Citralekhā, and Madhurasvarā, along with many other apsarases—began to dance in different places within Indra’s assembly hall. Those lotus-eyed celestial nymphs were intent on delighting even the minds of the perfected sages; their beauty and artistry, expressed through glance and movement, overwhelmed the inner faculties and created enchantment in the court.
वैशम्पायन उवाच
Educational Q&A
The verse highlights how sensory beauty and refined performance can overpower the inner faculties (manas, buddhi, cetas). Ethically, it points to the need for vigilance and self-mastery: even accomplished beings may be affected by allure, so discipline and discernment are essential.
In Indra’s assembly hall, many famed apsarases begin dancing in different places. Their glances, gestures, and charm are described as so captivating that they delight—and potentially distract—even the minds of siddhas present in the court.