Prahlada’s Defeat by Nara-Narayana and Victory through Bhakti
ऊरूद्भवां स कन्दर्पो दृष्ट्वा सर्वाङ्गसुन्दरीम् अमन्यत तदानङ्गः किमियं सा प्रिया रतिः
ūrūdbhavāṃ sa kandarpo dṛṣṭvā sarvāṅgasundarīm amanyata tadānaṅgaḥ kimiyaṃ sā priyā ratiḥ
Melihat gadis yang lahir dari paha itu, indah pada setiap anggota, Kandarpa—Ananga, yang tidak berjasad—lalu berfikir: “Siapakah dia? Adakah dia Rati, kekasihku?”
{ "primaryRasa": "shringara", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
Desire (kāma) seeks its proper counterpart (rati) rather than indiscriminate indulgence; the narrative channels attraction toward relational harmony, implying that kāma becomes constructive when paired with a fitting, dharmically oriented bond.
It functions as Vaṃśānucarita-style mythic narration about a deity (Kāma) and his consort (Rati), supplying an etiological explanation rather than cosmogenesis or dynastic royal genealogy.
Calling Kāma ‘Anaṅga’ (bodiless) highlights desire’s subtle, non-material force; his recognition of Rati suggests that desire requires a complementary principle—delight/attachment—so that the impulse becomes intelligible and narratively ‘embodied’ in the world.