Shloka 3
The Five Narratives (Pañcākhyāna): Desire, Forbearance, Devotion, and Merit of Hearing
अतिरम्यां कुटीं कृत्वा ताभिः सह महेश्वरः । क्रीडां चकार सहसा मनोभव पराभवः
atiramyāṃ kuṭīṃ kṛtvā tābhiḥ saha maheśvaraḥ | krīḍāṃ cakāra sahasā manobhava parābhavaḥ
ເມື່ອສ້າງກຸດິອັນງາມຍິ່ງແລ້ວ ພຣະມະເຫສວຣ—ຜູ້ເຄີຍປະຫານມໂນພະວະ (ກາມ)—ກໍພລັນເລີ່ມກິລາລີລາຢູ່ທີ່ນັ້ນຮ່ວມກັບນາງເຫຼົ່ານັ້ນ.
Narrator (contextual; not explicitly marked in the given verse)
Concept: Even one famed for conquering desire (Manobhava-parābhava) can be portrayed as entering līlā that tests restraint; spiritual reputation is not a substitute for vigilance.
Application: Do not rely on past victories over habits; maintain safeguards and accountability, especially in private comfort zones.
Primary Rasa: shringara
Secondary Rasa: bibhatsa
Type: forest
Visual Art Cues: {"scene_description":"An exquisitely crafted hermitage-cottage appears like a jeweled mirage—woven creepers, silk curtains, and fragrant blossoms. Maheśvara, famed as the conqueror of Kāma, is shown in sudden, paradoxical sport with celestial women, the scene shimmering with both beauty and unsettling irony.","primary_figures":["Maheśvara (Śiva)","celestial women (apsaras)"],"setting":"A luxurious cottage in a secluded grove, with flowering vines, incense smoke, and soft cushions; hints of ascetic symbols (waterpot, deer-skin) pushed aside","lighting_mood":"forest dappled turning to sensuous twilight glow","color_palette":["lotus pink","sandalwood beige","emerald green","pearl white","deep vermilion"],"tanjore_prompt":"Tanjore painting style: Maheśvara seated within an ornate kuti framed by a golden arch, apsaras dancing and offering garlands; thick gold leaf highlights on jewelry and curtains, rich reds and greens, stylized lotuses and mango-leaf toranas, South Indian iconographic symmetry with embossed gold textures.","pahari_prompt":"Pahari miniature style: a lyrical grove with delicate blossoms and a small cottage; Śiva rendered with refined features, apsaras in translucent garments; subtle irony conveyed through gentle expressions and the displaced ascetic items; cool greens and pinks with fine brushwork and patterned textiles.","kerala_mural_prompt":"Kerala mural style: bold outlines, Śiva with characteristic large eyes and ash-toned body, apsaras arranged in rhythmic dance poses; flat pigments—red, yellow, green—inside a temple-wall composition, ornamental borders and stylized flora filling negative space.","pichwai_prompt":"Pichwai cloth painting style: transform the cottage into a lotus-pavilion motif; intricate floral borders, peacocks at the edges, deep blue background with gold accents; figures arranged in devotional symmetry, textiles patterned with lotuses and vines, ornate and ceremonial."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["soft ankle-bells","rustling leaves","distant flute-like breeze","low drone (tanpura)"]}
Sandhi Resolution Notes: अतिरम्यां = अति + रम्याम् (avyayībhāva); संधि-रहित: ताभिः सह; मनोभव पराभवः—मनोभव is vocative; पराभवः is nominative epithet/apposition.
FAQs
It is an epithet of Maheśvara (Śiva), meaning “the one who defeated Manobhava,” i.e., Kāma, the god of desire.
It presents Śiva as capable of engaging in divine play while still being described as the conqueror of desire—highlighting mastery over passion rather than helpless submission to it.
No. This specific verse is narrative and mythic in tone, focusing on Śiva’s actions and his epithet; it does not directly discuss tīrtha geography or a bhakti teaching.