Shloka 36
Secondary Creation Begins: Brahmā’s Productions, the Guṇas, and the Emergence of Orders of Beings
नैकत्र ते जयति शालिनि पादपद्मं घ्नन्त्या मुहु: करतलेन पतत्पतङ्गम् । मध्यं विषीदति बृहत्स्तनभारभीतं शान्तेव दृष्टिरमला सुशिखासमूह: ॥ ३६ ॥
naikatra te jayati śālini pāda-padmaṁ ghnantyā muhuḥ kara-talena patat-pataṅgam madhyaṁ viṣīdati bṛhat-stana-bhāra-bhītaṁ śānteva dṛṣṭir amalā suśikhā-samūhaḥ
Hỡi người phụ nữ duyên dáng, khi nàng dùng lòng bàn tay đánh quả bóng nảy lên nảy xuống hết lần này đến lần khác, đôi chân sen của nàng chẳng đứng yên một chỗ. Bị đè bởi sức nặng bầu ngực đầy đặn, eo nàng mỏi mệt, và ánh nhìn trong trẻo dường như cũng mờ đi. Xin hãy tết mái tóc xinh của nàng lại.
The demons observed beautiful gestures in the woman’s every step. Here they praise her full-grown breasts, her scattered hair and her movements in stepping forward and backward while playing with the ball. In every step they enjoy her womanly beauty, and while they enjoy her beauty their minds become agitated by sex desire. As moths at night surround a fire and are killed, so the demons become victims of the movements of the ball-like breasts of a beautiful woman. The scattered hair of a beautiful woman also afflicts the heart of a lusty demon.
FAQs
This verse poetically describes Devahūti’s graceful movements and features—her lotus feet in motion, her slender waist, and her calm, pure glance—using the image of her striking at a moth drawn to a lamp.
In the narrative, Śukadeva presents the scene vividly for Parīkṣit Mahārāja, using refined poetic imagery to portray Devahūti’s presence and the atmosphere around her within the unfolding creation-era account.
It reminds a reader to observe the world with purity and calmness, and to recognize how attraction can pull the mind (like a moth to a flame), encouraging mindful restraint and inner steadiness.