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Shloka 26

Adhyāya 71: Kaca and the Saṃjīvanī-vidyā

Devayānī–Śukra Episode

रूपयौवनमाधुर्यचेष्टितस्मित भाषणै: । लोभयित्वा वरारोहे तपसस्तं निवर्तय,“वरारोहे! अपने रूप, जवानी, मधुर स्वभाव, हाव-भाव, मन्‍न्द मुसकान और सरस वार्तालाप आदिके द्वारा मुनिको लुभाकर उन्हें तपस्यासे निवृत्त कर दो”

rūpayauvanamādhuryaceṣṭitasmitabhāṣaṇaiḥ | lobhayitvā varārohe tapasas taṃ nivartaya ||

“Hỡi thiếu nữ hông đẹp! Bằng sắc đẹp, tuổi xuân, sự dịu ngọt, những cử chỉ lả lơi, nụ cười hiền, và lời nói duyên dáng của nàng, hãy quyến rũ vị hiền giả ấy và khiến ông rời bỏ khổ hạnh.”

रूपbeauty/form
रूप:
Karana
TypeNoun
Rootरूप
FormNeuter, Nominative/Accusative (in compound stem), Singular (as member of compound)
यौवनyouth
यौवन:
Karana
TypeNoun
Rootयौवन
FormNeuter, Nominative/Accusative (in compound stem), Singular (as member of compound)
माधुर्यsweetness/charm
माधुर्य:
Karana
TypeNoun
Rootमाधुर्य
FormNeuter, Nominative/Accusative (in compound stem), Singular (as member of compound)
चेष्टितgestures/acts
चेष्टित:
Karana
TypeNoun
Rootचेष्टित
FormNeuter, Nominative/Accusative (in compound stem), Singular (as member of compound)
स्मितsmile
स्मित:
Karana
TypeNoun
Rootस्मित
FormNeuter, Nominative/Accusative (in compound stem), Singular (as member of compound)
भाषणैःby speeches/words
भाषणैः:
Karana
TypeNoun
Rootभाषण
FormNeuter, Instrumental, Plural
लोभयित्वाhaving enticed
लोभयित्वा:
TypeVerb
Rootलुभ्
Formक्त्वा (absolutive/gerund), Parasmaipada (causative sense)
वरारोहेO fair-thighed one
वरारोहे:
TypeNoun
Rootवरारोही
FormFeminine, Vocative, Singular
तपसःfrom austerity
तपसः:
Apadana
TypeNoun
Rootतपस्
FormNeuter, Ablative, Singular
तम्him
तम्:
Karma
TypePronoun
Rootतद्
FormMasculine, Accusative, Singular
निवर्तयturn back/stop (him)
निवर्तय:
TypeVerb
Rootनि-वृत्
Formलोट् (imperative), Second, Singular, Parasmaipada, Parasmaipada

कण्व उवाच

कण्व (Kaṇva)
वरारोहे (a maiden addressed; likely Śakuntalā in context)
मुनि (the sage; implied by context)

Educational Q&A

The verse spotlights an ethical conflict: using charm and desire as instruments to derail a sage’s tapas. It implicitly raises questions about dharma—whether ends justify means, and how easily disciplined virtue can be tested by sensory allure.

Kaṇva addresses a young woman and instructs her to employ her beauty, youth, pleasing demeanor, gestures, smile, and speech to entice a sage and make him abandon his austerities—an explicit directive to interrupt ascetic practice through seduction.