FolioCorpusBhagavad-gītā

Śrīmad-Bhāgavatam 10.39.49-50

బృహత్కటితటశ్రోణికరభోరుద్వయాన్వితమ్ । చారుజానుయుగం చారుజఙ్ఘాయుగలసంయుతమ్ ॥ ౪౯ ॥ తుఙ్గగుల్ఫారుణనఖవ్రాతదీధితిభిర్వృతమ్ । నవాఙ్గుల్యఙ్గుష్ఠదలైర్విలసత్ పాదపఙ్కజమ్ ॥ ౫౦ ॥
bṛhat-kati-tata-śroṇi
[brihat-kati-tata-shroni]
karabhoru-dvayānvitam
[karabhoru-dvayaanvitam]
cāru-jānu-yugaṁ cāru
[chaaru-jaanu-yugam chaaru]
jaṅghā-yugala-saṁyutam
[janghaa-yugala-samyutam]
tuṅga-gulphāruṇa-nakha
[tunga-gulphaaruna-nakha]
vrāta-dīdhitibhir vṛtam
[vraata-deedhitibhir vritam]
navāṅguly-aṅguṣṭha-dalair
[navaanguly-angushtha-dalair]
vilasat-pāda-paṅkajam
[vilasat-paada-pankajam]
bṛhat — large kaṭi - taṭa — whose loins śroṇi — and hips karabha — like an elephant’s trunk ūru — of thighs dvaya — a pair anvitam — having cāru — attractive jānu - yugam — whose two knees cāru — attractive jaṅghā — of shanks yugala — a pair saṁyutam — having tuṅga — high gulpha — whose ankles aruṇa — reddish nakha - vrāta — from whose toenails dīdhitibhiḥ — with effulgent rays vṛtam — surrounded nava — soft aṅguli - aṅguṣṭha — the two big toes and other toes dalaiḥ — like flower petals vilasat — glowing pāda - paṅkajam — whose lotus feet .
Blended reading (Sanskrit + English inline)
bṛhat-kati-tata-śroṇi
bṛhat
large
kaṭi - taṭa
whose loins
śroṇi
and hips
karabhoru-dvayānvitam
karabha
like an elephant’s trunk
ūru
of thighs
dvaya
a pair
anvitam
having
cāru-jānu-yugaṁ cāru
cāru
attractive
jānu - yugam
whose two knees
cāru
attractive
jaṅghā-yugala-saṁyutam
jaṅghā
of shanks
yugala
a pair
saṁyutam
having
tuṅga-gulphāruṇa-nakha
tuṅga
high
gulpha
whose ankles
aruṇa
reddish
nakha - vrāta
from whose toenails
vrāta-dīdhitibhir vṛtam
dīdhitibhiḥ
with effulgent rays
vṛtam
surrounded
navāṅguly-aṅguṣṭha-dalair
nava
soft
aṅguli - aṅguṣṭha
the two big toes and other toes
dalaiḥ
like flower petals
vilasat-pāda-paṅkajam
vilasat
glowing
pāda - paṅkajam
whose lotus feet .
  • pāda - paṅkajam — lotus feet
    Pāda-paṅkaja — the Vaiṣṇava image of images. The feet that the Gosvāmīs say are the only goal of bhakti; the feet Akrūra had been longing to touch since he left Mathurā (cf. SB 10.38). Now he sees them in cosmic form.
  • ūru - dvaya — the two thighs
    The thighs described karabha — like the trunk of a young elephant — a classical sign of royal beauty in Sanskrit poetics. Bhāgavata uses court-conventions to describe Viṣṇu, anchoring rasa in cultural specifics.
  • aruṇa - nakha - vrāta — the multitude of reddish nails
    Aruṇa = the dawn-red. The toenails are pink-glowing like dawn — radiating dīdhitibhiḥ (effulgences). Bhakti texts dwell on these toenails as moon-shaped reflectors of divine light.
  • tuṅga - gulpha — raised / prominent ankles
    Tuṅga = high, raised. Specific iconographic feature: well-formed, raised ankles, considered a mark of nobility and balance in classical śilpa-śāstra (sculpture canons).
He had large loins and hips, thighs like an elephant’s trunk, and shapely knees and shanks. His raised ankles reflected the brilliant effulgence emanating from the nails on His petallike toes, which beautified His lotus feet.
Viśvanātha Cakravartī Ṭhākura Gauḍīya
Translation
He had large loins and hips, thighs like an elephant's trunk, and shapely knees and shanks. His raised ankles reflected the brilliant effulgence emanating from the nails on His petallike toes, which beautified His lotus feet.
Jīva Gosvāmī Gauḍīya
Commentary

His buttocks were like banks because of their width. His hips were wide. Karabha means the outer portion of the hand from the wrist to the little finger. This means his thighs were thick and gradually tapered downwards. Words like anvitam and saṁyutam (endowed with) indicate the great beauty of these limbs. He had tender toes, pink like a lotus petal. The literal express “the petals of his fresh toes” indicates their extreme tenderness. Since the description is not always in order, it is understood that his eyes wandered because he was agitated with greed.

Śrīdhara Svāmī Gauḍīya
Commentary

His buttocks were like banks because of their width. His hips were wide. Karabha means the outer portion of the hand from the wrist to the little finger. This means his thighs were thick and gradually tapered downwards. Words like anvitam and saṁyutam (endowed with) indicate the great beauty of these limbs. It was not just some collection or combination of items. O king! Śukadeva expresses joy in describing the lotus feet of the Lord, which give life to the devotees. Or he expresses fixing this description in his mind. The word nava indicates the beauty of his toes or the underside of his toes, pink like a new petal. Or nava modifies dala (fresh petals). The description starts with his face and ends with his feet. Though other limbs are not mentioned, they are understood to be beautiful also. Since his face was beautiful, his forehead and chin were beautiful. Since his smile was beautiful, his teeth were more beautiful than kunda flowers. Since his arms were long and well shaped, his hands were also well shaped. After describing his lips, his arms, his chest and then his neck are described. The order is according to where Akrūra’s glance fell, noting the particular beauty.

Related values
Anahankarah (Freedom from False Ego)Kshama (Forgiveness / Patience)Mardava (Gentleness)
Related verses
Concepts
Jiva

Like one studying a flawless deity-mūrti foot by foot — Akrūra's eyes travel down the Lord's body: broad hips, thighs like elephant-trunks, shapely knees and calves, raised ankles, glowing toenails like flower-petals casting brilliance on the lotus-feet. Every limb a sacred geography.

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