Shloka 141
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
न जातोऽस्याः पतिर्भद्रे लक्षणैश्च विवर्जितः । उत्तानहस्ता सततं चरणैर्व्यभिचारिभिः
na jāto'syāḥ patirbhadre lakṣaṇaiśca vivarjitaḥ | uttānahastā satataṃ caraṇairvyabhicāribhiḥ
হে ভদ্ৰে, তাইৰ বাবে যোগ্য লক্ষণযুক্ত কোনো স্বামী জন্ম হোৱা নাই; তাইৰ হাত সদায় মেলি থাকে, আৰু ভৰি ডগমগাই সঠিক পথৰ পৰা বিচ্যুত হয়।
Unspecified (context needed to identify the dialogue speaker reliably)
Concept: Worldly life is read through ‘lakṣaṇa’ (signs/marks), yet such readings can intensify saṃsāric fear; discernment must mature into surrender to divine order.
Application: Do not absolutize external ‘signs’ about yourself or others; respond with compassion and constructive action rather than stigma.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Type: mountain
Visual Art Cues: {"scene_description":"A concerned speaker addresses a noble lady, describing the absence of a worthy husband and the troubling bodily signs—outstretched hands and wandering feet—symbolizing instability. The atmosphere is intimate yet heavy, as if a family’s future hangs on a single pronouncement.","primary_figures":["concerned court-sage/elder (unspecified speaker)","a noble lady (addressed as bhadre)","attendants (optional)"],"setting":"A mountain-palace hall carved from stone and crystal, with Himalayan motifs and hanging garlands; or a hermitage courtyard where family counsel is given.","lighting_mood":"temple lamp-lit","color_palette":["slate gray","smoky violet","muted gold","deep maroon","ivory"],"tanjore_prompt":"Tanjore painting style: a solemn elder-sage gesturing in counsel, the noble lady seated with anxious gaze, gold leaf highlighting jewelry and pillars, rich maroons and greens, ornate arch framing the scene, symbolic depiction of outstretched hands and uncertain steps in a subtle narrative vignette.","pahari_prompt":"Pahari miniature style: quiet interior with delicate textiles, the lady’s downcast eyes, the speaker’s gentle but grave hand gesture, cool grays and violets, distant Himalayan ridge visible through a window, refined emotional restraint.","kerala_mural_prompt":"Kerala mural style: stylized figures with bold outlines, expressive eyes conveying worry, warm lamp-lit palette, architectural borders like temple murals, symbolic foot placement to suggest ‘vyabhicāra’.","pichwai_prompt":"Pichwai cloth painting style: narrative panel with ornate floral borders, subdued tones, symbolic motifs (unsteady footprints) integrated into decorative patterning, devotional textile aesthetic though the scene is domestic-cosmic."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drone","soft murmurs of a hall","wind outside stone corridors","brief silence after key phrases"]}
Sandhi Resolution Notes: जातोऽस्याः = जातः + अस्याः; पतिर्भद्रे = पतिः + भद्रे; लक्षणैश्च = लक्षणैः + च; उत्तानहस्ताः = उत्तान-हस्ताः; चरणैर्व्यभिचारिभिः = चरणैः + व्यभिचारिभिः.
FAQs
It indicates the absence of recognized auspicious signs or qualifying virtues (lakṣaṇa), suggesting the person described does not meet traditional standards of suitability or excellence.
Literally “with outstretched hands,” it can imply continual begging, dependency, or a posture of seeking—often used in moral portraits to indicate lack of self-sufficiency or dignity.
The phrase portrays unstable or errant steps, implying wavering conduct; the broader ethical takeaway is the value placed on steadiness, discipline, and adherence to the right path.