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Shloka 11

इन्द्रस्य दुःखप्राप्तिः—त्रिशिरोवधः, वृत्रोत्पत्तिः, जृम्भिकाजननम्

Indra’s Distress: Slaying of Triśiras, Birth of Vṛtra, and the Origin of Yawning

शुज्भारवेषा: सुश्रोण्यो हारैर्युक्ता मनोहरै: । हावभावसमायुक्ता: सर्वा: सौन्दर्यशोभिता:

śubhābharaṇaveṣāḥ suśroṇyo hārair yuktā manoharaiḥ | hāvabhāvasamāyuktāḥ sarvāḥ saundaryaśobhitāḥ |

Śalya nói: “Hỡi những mỹ nữ hông thon, hãy khoác y phục lộng lẫy hợp với trang sức, đeo chuỗi ngọc duyên dáng, tinh thông dáng điệu và ánh mắt—mỗi người rực rỡ bởi sắc đẹp—hãy đi quyến rũ Viśvarūpa. Cầu chúc các nàng bình an. Hãy làm nguôi nỗi sợ của ta. Hỡi các kỹ nữ, lòng ta bất an; vậy nên, hỡi những người mềm mại, hãy mau dập tắt nỗi kinh hoàng ghê gớm này của ta.”

शुभ-भार-वेषाःhaving auspicious/heavy (ornate) attire
शुभ-भार-वेषाः:
Karta
TypeAdjective
Rootशुभ + भार + वेष
FormFeminine, Nominative, Plural
सु-श्रोण्यःwomen with beautiful hips
सु-श्रोण्यः:
Karta
TypeNoun
Rootसुश्रोणि
FormFeminine, Nominative, Plural
हारैःwith necklaces/garlands
हारैः:
Karana
TypeNoun
Rootहार
FormMasculine, Instrumental, Plural
युक्ताःadorned/connected
युक्ताः:
Karta
TypeAdjective
Rootयुज् (क्त)
FormFeminine, Nominative, Plural
मनोहरैःcharming
मनोहरैः:
Karana
TypeAdjective
Rootमनोहर
FormMasculine, Instrumental, Plural
हाव-भाव-समायुक्ताःendowed with gestures and expressions
हाव-भाव-समायुक्ताः:
Karta
TypeAdjective
Rootहाव + भाव + समायुक्त
FormFeminine, Nominative, Plural
सर्वाःall
सर्वाः:
Karta
TypeAdjective
Rootसर्व
FormFeminine, Nominative, Plural
सौन्दर्य-शोभिताःbeauty-adorned / beautified
सौन्दर्य-शोभिताः:
Karta
TypeAdjective
Rootसौन्दर्य + शोभित
FormFeminine, Nominative, Plural

शल्य उवाच

Ś
Śalya
V
Viśvarūpa
V
varāṅganāḥ (courtesans/entertainer-women)
H
hāra (necklaces)

Educational Q&A

The verse highlights how fear and mental agitation can drive a person toward ethically questionable means—here, using seduction and performance to control another. It implicitly warns that an unsettled mind (asvastha-citta) seeks quick relief, often by manipulating others rather than cultivating steadiness and discernment.

Śalya addresses a group of courtesans/entertainer-women, instructing them—adorned with jewelry, dress, and practiced gestures—to go and entice a man named Viśvarūpa. He frames this as a way to calm his own intense fear and mental distress, urging them to act quickly.