Shloka 49
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
स्वेच्छया क्षीरजलयोरविच्छिन्नां च शर्वरीं । जलकुंभान्महावीर्य स्थापयित्वा त्रयोदश
svecchayā kṣīrajalayoravicchinnāṃ ca śarvarīṃ | jalakuṃbhānmahāvīrya sthāpayitvā trayodaśa
ഹേ മഹാവീര്യാ! അവൻ സ്വേച്ഛയാൽ ക്ഷീരജലങ്ങളിലെ ശർവരിയെ അവിഛിന്നമാക്കി; പിന്നെ ജലകുംഭങ്ങൾ എടുത്ത് പതിമൂന്ന് സ്ഥാപിച്ചു।
Uncertain from single-verse context (likely narrator within the Pulastya–Bhīṣma dialogue frame common to Sṛṣṭikhaṇḍa).
Concept: Steadfast continuity—keeping the night’s observance unbroken—signals the inner vow’s strength; ritual endurance mirrors devotional constancy.
Application: Choose one spiritual practice and keep it ‘avichchinna’ (unbroken) for a set period—e.g., a night vigil of kīrtana, or a month of daily japa.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: temple
Visual Art Cues: {"scene_description":"A long night vigil unfolds beside vessels of milk and water arranged in careful order; thirteen kalaśas stand in a row, each crowned with leaves and cloth ties. Lamps burn steadily as the devotee maintains an unbroken observance, the dark sky above softened by a faint lunar glow and the sense of sacred time held still.","primary_figures":["devotee/yajamāna (addressed as mahāvīrya)","attendant priests","guardian deities (subtle)"],"setting":"Open-air ritual courtyard with rows of kalaśas, low lamps, and a central altar; milk and water vessels gleam in the night.","lighting_mood":"moonlit","color_palette":["ink black","moon silver","milk white","copper bronze","lamp-flame gold"],"tanjore_prompt":"Tanjore painting style: night-time ritual courtyard with thirteen ornate kalaśas in a symmetrical row, gold-leaf lamp flames, devotee in white garments with jeweled ornaments, stylized moon halo, rich maroon and emerald accents, heavy gold embellishment on vessels and borders.","pahari_prompt":"Pahari miniature style: a quiet moonlit courtyard with delicate lamps, thirteen small painted pots aligned, soft gradients of night sky, lyrical stillness, cool blues and silvers with warm lamp-gold highlights, refined figures maintaining vigil.","kerala_mural_prompt":"Kerala mural style: rhythmic arrangement of thirteen kalaśas with bold outlines, stylized lamps and moon, devotee in profile with large expressive eyes, strong red-yellow-green palette contrasted against deep blue-black night field.","pichwai_prompt":"Pichwai cloth painting style: decorative alignment of thirteen kalaśas as repeating motifs, lotus borders and floral vines, deep indigo cloth ground, gold and white detailing, central vigil figure framed by symmetrical lamps and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"serene","sound_elements":["night insects","soft lamp crackle","distant temple bell","low chanting","occasional conch"]}
Sandhi Resolution Notes: क्षीरजलयोरविच्छिन्नाम् = क्षीर-जलयोः + अविच्छिन्नाम्; जलकुंभान्महावीर्य = जल-कुम्भात् + महावीर्य (त् + म → न्म्)
FAQs
It is a dual form meaning “of/in the two waters,” glossed here as “milk and water,” a common Purāṇic pairing used to indicate sacred or extraordinary waters.
The verse explicitly mentions “water-pitchers” (jala-kumbhān) and then “thirteen,” indicating thirteen water pots were set up; the precise ritual setting needs adjacent verses for confirmation.
From this single verse alone the speaker cannot be identified with certainty; Sṛṣṭikhaṇḍa frequently uses a narrator speaking within a larger dialogue (often Pulastya explaining to Bhīṣma), but chapter context is required to be definitive.