Shloka 48
Adhyaya 1 — Jaimini’s Questions on the Mahabharata and the Origin of the Wise Birds
तां दृष्ट्वा चारुसर्वाङ्गीं मुनिः संस्तभ्य मानसम् ।
क्षोभणायागतां ज्ञात्वा कोपामर्षसन्वितः ॥
tāṃ dṛṣṭvā cārusarvāṅgīṃ muniḥ saṃstabhya mānasam |
kṣobhaṇāyāgatāṃ jñātvā kopāmarṣasanvitaḥ ||
तां सर्वाङ्गसुन्दरीं दृष्ट्वा मुनिः स्वचित्तं समधारयत्। तपोविघ्नार्थमागता इति ज्ञात्वा स क्रोधामर्षसमन्वितोऽभवत्॥
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FAQs
The verse emphasizes vigilance over the mind: sensory allure is recognized, but the ethical pivot is discernment (jñātvā) and inner restraint (saṃstabhya mānasam). It also warns that even when temptation is overcome, anger and indignation can arise—another subtle obstacle for an ascetic, showing that mastery is not only over desire but also over reactive emotions.
Primarily within Vaṃśānucarita / narrative exempla (conduct of sages and episodic accounts) rather than sarga/pratisarga/manvantara. It functions as didactic narrative material illustrating dharma and tapas within the Purana’s broader compendium.
The ‘beautiful woman’ operates as a symbol of māyā’s power to perturb the mind (kṣobhaṇa). The sage’s ‘steadying of the mind’ signifies pratyāhāra/dhāraṇā-like interiorization, while the arising of kopa-amarṣa indicates that egoic identification can persist even after conquering desire—pointing to a deeper layer of purification beyond mere sensory restraint.