Aṣṭāvakra–Strī-saṃvāda: Dhṛti, hospitality, and a dispute on autonomy
अथोरवरा मिश्रकेशी रम्भा चैवोर्वशी तथा । अलम्बुषा घृताची च चित्रा चित्राड़दा रुचि:,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
athorvarā miśrakeśī rambhā caivorvaśī tathā | alambuṣā ghṛtācī ca citrā citrāṅgadā ruciḥ ||
Disse Bhishma: Então apareceram Urvarā, Miśrakeśī, Rambhā e também Urvaśī; Alambuṣā e Ghṛtācī; Citrā, Citrāṅgadā e Ruci.
भीष्म उवाच
The verse primarily functions as descriptive narration rather than direct moral instruction. In the broader ethical frame of the Anuśāsana Parva, such depictions often serve as reminders that even dazzling pleasures and divine entertainments are transient and can distract the mind; steadiness in dharma requires discernment amid allure.
Bhīṣma lists prominent apsarases who appear in sequence. The surrounding context (as reflected in the accompanying prose tradition) portrays them dancing while gandharvas play various instruments, creating a celestial spectacle.