Shloka 45
Vasiṣṭhasya śokaḥ, Vipāśā–Śatadrū-nāmākaraṇam, Kalmāṣapādasya bhaya-prasaṅgaḥ (Ādi Parva 167)
श्यामा पद्मपलाशाक्षी नीलकुज्चितमूर्थजा । ताम्रतुज़्नखी सुभ्रूश्षारूपीनपयोधरा,उसके शरीरकी कान्ति श्याम थी। नेत्र ऐसे जान पड़ते मानो खिले हुए कमलके दल हों। केश काले-काले और घुँघराले थे। नख उभरे हुए और लाल रंगके थे। भौंहें बड़ी सुन्दर थीं। दोनों उरोज स्थूल और मनोहर थे
śyāmā padmapalāśākṣī nīlakuñcitamūrdhajā | tāmratuṅganakhī subhrūḥ sā rūpiṇī payodharā ||
Vị Bà-la-môn nói: “Nàng có nước da sẫm. Đôi mắt như những cánh sen của đóa sen nở rộ. Tóc nàng đen và xoăn. Móng tay nổi rõ, ánh đỏ như đồng. Lông mày được uốn nét tinh xảo, và đôi nhũ hoa đầy đặn, ưa nhìn.”
ब्राह्मण उवाच
Educational Q&A
The verse itself is primarily descriptive, but in the Mahābhārata such idealized physical portrayal often functions as a narrative trigger: it can illuminate how sensory attraction arises and thereby sets the stage for ethical testing—whether one remains governed by dharma and restraint or is led by fascination and desire.
A brāhmaṇa speaker is describing a woman’s appearance in detail—complexion, eyes, hair, nails, eyebrows, and breasts—using conventional Sanskrit poetic compounds. This kind of portrait typically introduces or intensifies a situation where the listener’s response to beauty becomes significant for the unfolding story.