Shloka 131
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
शय्यासनादिकं सर्वं ब्राह्मणस्य गृहं नयेत् । ततः प्रभृति योऽन्योपि रत्यर्थं गेहमागतः
śayyāsanādikaṃ sarvaṃ brāhmaṇasya gṛhaṃ nayet | tataḥ prabhṛti yo'nyopi ratyarthaṃ gehamāgataḥ
Hendaklah dia membawa semua tempat tidur, tempat duduk, dan segala kelengkapan rumah seumpamanya ke rumah seorang brāhmaṇa. Sejak saat itu, sesiapa pun yang lain datang ke rumahnya demi rati (kenikmatan asmara), hendaklah diperlakukan menurut ketetapan yang sama.
Unclear from the provided single-verse excerpt (context needed from surrounding verses of Adhyaya 23).
Concept: Regulation of rati (sexual pleasure) through dharma: household goods associated with pleasure are relinquished to a brāhmaṇa, signaling restraint and social-ritual consequences for indulgence.
Application: Create safeguards against compulsive behavior: remove triggers, practice accountability, and redirect resources toward service/charity; treat desire as something to be disciplined, not indulged at others’ expense.
Primary Rasa: raudra
Secondary Rasa: bibhatsa
Visual Art Cues: {"scene_description":"A householder solemnly carries bedding and seats out of his own home toward a brāhmaṇa’s dwelling, as if removing the very furniture of indulgence. In the background, the doorway of the house stands stark and empty, while a shadowy figure—symbolizing the ‘visitor seeking rati’—lingers at the threshold, denied welcome by the new moral order.","primary_figures":["householder (ritual patron)","brāhmaṇa","symbolic figure of temptation (anonymous visitor)"],"setting":"village lane between two houses; one home partially emptied, the brāhmaṇa’s house calm and austere","lighting_mood":"twilight hush","color_palette":["dusty ochre","charcoal gray","muted indigo","pale linen white","dull copper"],"tanjore_prompt":"Tanjore painting style: moral tableau—householder bearing bedding and a low seat toward a brāhmaṇa’s home; the emptied doorway behind; a faint, shadowed tempter figure at the threshold; gold leaf used sparingly to highlight dharma’s authority (sacred thread, scripture), rich earthy reds and greens, ornate border framing a cautionary scene.","pahari_prompt":"Pahari miniature style: narrative street scene with delicate architecture; subdued twilight palette; expressive faces showing resolve and disapproval; the tempter figure rendered as a soft silhouette; fine brushwork on textiles and household items, quiet moral tension.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic staging—householder in decisive posture, brāhmaṇa calm; tempter as dark stylized form; flat pigments in red/yellow/green with strong black contours, temple-wall didactic composition.","pichwai_prompt":"Pichwai cloth painting style: allegorical composition—household items arranged like offerings moving toward a sanctified space; lotus borders and Vaishnava emblems framing a moral lesson; deep blue ground with gold accents, the ‘temptation’ figure stylized as a dark motif outside the floral mandala."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["stern drum pulse (mridanga low)","wind through doorway","footsteps carrying load","brief bell to mark injunction","heavy silence after warning"]}
Sandhi Resolution Notes: सन्धि-विच्छेदः: शय्यासनादिकम् = शय्या + आसन + आदिकम्; योऽन्योपि = यः + अन्यः + अपि; गेहमागतः = गेहम् + आगतः। ‘रत्यर्थम्’ = रति + अर्थम् (षष्ठी-तत्पुरुषार्थे ‘रत्याः अर्थम्’/प्रयोजन-निर्देशः)।
FAQs
It signals a deliberate renunciation or restraint within the household—removing objects associated with comfort or intimacy—while placing them under the custody of a brāhmaṇa, a figure linked with ritual authority and dharmic supervision.
The verse implies regulation of sensual conduct and discourages turning the home into a place for illicit or purely pleasure-driven encounters, emphasizing self-control and dharmic boundaries.
This specific verse is primarily ethical and disciplinary rather than devotional (bhakti) or cosmological. Its placement in Sṛṣṭikhaṇḍa suggests the chapter may include practical dharma instructions alongside broader narrative material.