Shloka 12
The Greatness of Worshiping Rādhā and Dāmodara
Kārttika Observances and Their Fruit
जाराकांक्षी सदा नाम्ना तृणवन्मन्यते पतिम् । असौ पतिर्न मे योग्यो मे स्वामी परपूरुषः
jārākāṃkṣī sadā nāmnā tṛṇavanmanyate patim | asau patirna me yogyo me svāmī parapūruṣaḥ
Eine Frau, die stets nach einem Buhlen verlangt, ist nur dem Namen nach Ehefrau und hält ihren Gatten für bloßes Stroh. Sie denkt: „Dieser Mann taugt nicht für mich; mein wahrer Herr ist ein anderer.“
Unspecified in the provided excerpt (context needed to identify the dialogue frame, e.g., Pulastya–Bhīṣma or Śiva–Pārvatī).
Concept: Adulterous craving (jarā-kāṅkṣā) and contempt for one’s spouse is a grave adharma that corrodes the mind and leads to degrading actions and karmic suffering.
Application: Guard the mind from rationalizing betrayal; cultivate sat-saṅga, vows, and devotional routines that strengthen fidelity, gratitude, and restraint.
Primary Rasa: bibhatsa
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"Inside a dim household, Kalipriyā turns away from her husband with a cold, dismissive gesture, her thoughts visualized as a shadowy figure of a ‘parama-puruṣa’ (illicit lover) hovering like a temptation. The husband appears diminished, treated ‘like straw,’ while the room’s sacred objects—lamp, water pot, and altar cloth—look neglected, signaling the collapse of śauca.","primary_figures":["Kalipriyā","husband (Śaṅkara)","shadow-temptation figure (allegorical)"],"setting":"A neglected domestic interior: overturned offering tray, unlit lamp, dusty altar niche; moral decay shown through disarray rather than gore.","lighting_mood":"forest dappled","color_palette":["mud brown","dull gold","blackened teal","withered green","rust red"],"tanjore_prompt":"Tanjore painting style: dramatic interior scene with Kalipriyā in ornate yet slightly disheveled attire, turning away from her husband; a dark, translucent temptation figure behind her; gold leaf used sparingly on jewelry and a neglected altar arch to heighten irony; rich reds and greens muted with smoky overlays, expressive gestures conveying contempt.","pahari_prompt":"Pahari miniature style: intimate room with delicate linework; Kalipriyā’s face shows disdain, husband’s posture slumps; a faint shadow silhouette indicates illicit desire; cool, restrained palette with rust accents, refined emotional storytelling, minimal props (unlit lamp, scattered flowers) to suggest neglected worship.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized expressions; Kalipriyā’s eyes wide and restless, husband in profile; symbolic straw bundle near the husband to literalize ‘tṛṇavat’; decorative borders with broken lotus motifs; earthy pigments with dark teal shadows.","pichwai_prompt":"Pichwai cloth painting style: allegorical composition—central figure of the woman with a swirling floral-vine turning thorny, husband shown smaller at the edge near a straw motif; deep indigo background, ornate borders, symbolic rather than realistic interior, moral narrative conveyed through motifs (withered lotuses, unlit lamps)."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairav","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sharp bell strike","low drone","sudden silence","distant thunder (symbolic)"]}
Sandhi Resolution Notes: तृणवन्मन्यते = तृणवत् + मन्यते; पतिर्न = पतिः + न (visarga before n → r); (परपूरुषः read as पर-पुरुषः; orthography shows long ū in IAST parapūruṣaḥ)
FAQs
It warns that craving an extramarital partner leads one to devalue one’s spouse and to justify disloyalty by mentally replacing the husband with “another man.”
It suggests the marriage remains only a social label, while affection, loyalty, and inner commitment have shifted elsewhere.
It underscores fidelity and respect between spouses as part of gṛhastha-dharma, portraying adulterous longing as a distortion of marital duty and right conduct.