Shloka 44
Vasiṣṭhasya śokaḥ, Vipāśā–Śatadrū-nāmākaraṇam, Kalmāṣapādasya bhaya-prasaṅgaḥ (Ādi Parva 167)
कुमारी चापि पाज्चाली वेदीमध्यात् समुत्थिता । सुभगा दर्शनीयड्री स्वसितायतलोचना,तत्पश्चात् यज्ञकी वेदीमेंसे एक कुमारी कन्या भी प्रकट हुई, जो पांचाली कहलायी। वह बड़ी सुन्दरी एवं सौभाग्यशालिनी थी। उसका एक-एक अंग देखने ही योग्य था। उसकी श्याम आँखें बड़ी-बड़ी थीं
kumārī cāpi pāñcālī vedīmadhyāt samutthitā | subhagā darśanīyāṅgī susmitāyatālocanā ||
Pagkaraan, mula sa pinakagitna ng dambanang pangyajña, may isang dalagang sumibol—si Pāñcālī. Siya’y mapalad at maningning; bawat sangkap ay karapat-dapat pagmasdan. Malalaki at mahahaba ang kanyang mga matang maitim, at ang banayad niyang ngiti’y lalo pang nagpaganda sa kanya.
ब्राह्मण उवाच
Educational Q&A
The verse frames Draupadī’s appearance as arising from a yajña-vedī, suggesting a divinely authorized turning point. Ethically, it signals that major social and political events—especially marriage alliances and ensuing conflicts—are to be read through the lens of dharma and ritual legitimacy, not merely personal desire.
During a sacrificial rite, a maiden named Pāñcālī manifests from the center of the altar. She is described as exceptionally auspicious and beautiful, with a gentle smile and large, elongated eyes—introducing her as a pivotal figure for the unfolding royal and dharmic narrative.