Shloka 46
Aṣṭāvakra–Strī-saṃvāda: Dhṛti, hospitality, and a dispute on autonomy
एताश्षान्याश्न वै वह्नयः प्रनृत्ताप्सरस: शुभा: । अवादयंश्न गन्धर्वा वाद्यानि विविधानि च,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
etāś cānyāś ca vai vahnyo nṛttāpsarasaḥ śubhāḥ | avādayaṃś ca gandharvā vādyāni vividhāni ca || tadanantaram urvarā miśrakeśī rambhā urvaśī alambuṣā ghṛtācī citrā citrāṅgadā ruciḥ manoharā sukeśī sumukhī hāsinī prabhā vidyutā praśamī dāntā vidyotā ratiś ca—ityādayaḥ ||
Bhishma berkata: “Kemudian banyak lagi Apsara yang bertanda mulia—bersinar laksana nyala api—mula menari, dan para Gandharva memainkan pelbagai jenis alat muzik. Sesudah itu, Urvarā, Miśrakeśī, Rambhā, Urvaśī, Alambuṣā, Ghṛtācī, Citrā, Citrāṅgadā, Ruci, Manoharā, Sukeśī, Sumukhī, Hāsinī, Prabhā, Vidyutā, Praśamī, Dāntā, Vidyotā, dan Rati—bersama ramai lagi Apsara yang beralamat baik—turut mengangkat tarian, sementara rombongan Gandharva meneruskan irama mereka yang beraneka.”
भीष्म उवाच
Educational Q&A
The verse underscores how righteous or sacred occasions are portrayed as drawing cosmic approval: celestial beings celebrate through music and dance, suggesting that dharmic order is harmonized not only socially but also cosmically.
Bhīṣma describes a scene of celestial celebration: numerous Apsarases begin dancing and Gandharvas accompany them with diverse instruments; the verse then lists prominent Apsarases who join the performance.