Shloka 79
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
अनंगशरतप्ताभिः साभिलाषमवेक्षितः । प्रबुद्धो मन्मथस्तासां भविष्यति यदात्मनि
anaṃgaśarataptābhiḥ sābhilāṣamavekṣitaḥ | prabuddho manmathastāsāṃ bhaviṣyati yadātmani
Apabila mereka yang hangus oleh panah Ananga (Kāma tanpa jasad) memandangnya dengan penuh hasrat, maka dalam diri mereka sendiri Manmatha—cinta—akan terjaga.
Unspecified narrator (contextual speaker not provided in the input excerpt)
Concept: Desire is contagious and reactive: the gaze (dṛṣṭi) and imagination can ignite inner fire; therefore guarding the senses is a spiritual discipline.
Application: Practice sense-hygiene: mindful seeing, avoid provocative stimuli, and replace obsessive imagery with nāma-japa or dhyāna on Viṣṇu’s auspicious form.
Primary Rasa: shringara
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A group of women, hearts aflame with longing, watch from behind latticed windows and flowering vines; their eyes linger, and the invisible arrows of Ananga seem to shimmer in the air. Within their chests, Manmatha awakens like a sudden spark catching dry grass—beautiful yet perilous.","primary_figures":["Sāmba (implied as the object of gaze)","women/onlookers (collective)","Ananga/Manmatha (symbolic, subtle presence)"],"setting":"A palace-garden edge with carved jali screens, flowering creepers, and a corridor where the figure passes by.","lighting_mood":"moonlit","color_palette":["silver grey","jasmine white","deep indigo","rose pink","antique gold"],"tanjore_prompt":"Tanjore painting style: symbolic depiction of Ananga’s invisible arrows as gold leaf streaks in the air; women behind ornate latticework with expressive eyes, Sāmba passing in jeweled splendor; rich reds and greens, gilded highlights on architecture and ornaments, devotional-meets-dramatic composition.","pahari_prompt":"Pahari miniature style: intimate moonlit palace garden, delicate expressions of longing, fine jali patterns, subtle depiction of Kāma’s influence through faint floral-arrow motifs; cool nocturnal palette with refined brushwork and lyrical negative space.","kerala_mural_prompt":"Kerala mural style: stylized faces with large eyes conveying longing, rhythmic patterns of vines and lattice; Manmatha suggested as a faint outlined figure with bow, warm pigments contrasted against dark background, dramatic narrative clarity.","pichwai_prompt":"Pichwai cloth painting style: decorative, symbolic rendering—lotus and floral borders enclosing a central corridor scene; peacocks and vines; Kāma’s presence shown through repeating arrow-flower motifs, deep blues with gold and pink accents."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["night insects","distant flute fragment","soft sighs (implied)","temple bell far away"]}
Sandhi Resolution Notes: anaṃgaśarataptābhiḥ = anaṅga-śara-taptābhiḥ; sābhilāṣam = sa-abhilāṣam (avyayībhāva); manmathastāsāṃ = manmathaḥ tāsām; yadātmani = yat ātmani.
FAQs
Both names refer to Kāma, the deity/principle of desire: Ananga means “bodiless,” and Manmatha means “the churner/agitatior of the mind.”
It describes desire being intensified by attention and longing—when one who is already “burning” with passion gazes with craving, the force of Kāma becomes fully awakened within.
Implicitly, it warns that indulgent attention (a desirous gaze) fuels inner agitation; restraint of the senses and mind prevents desire from becoming dominant.