Shloka 56
Account of Kāmākṣā (Bhavānī) at Āhicchatrā
देवासुरास्तु यां स्तुत्वा नत्वा प्राप्ताखिलां श्रियम् । धर्मार्थकाममोक्षाणां दात्री भक्तानुकंपिनी
devāsurāstu yāṃ stutvā natvā prāptākhilāṃ śriyam | dharmārthakāmamokṣāṇāṃ dātrī bhaktānukaṃpinī
ครั้นสรรเสริญและนอบน้อมแด่พระนางแล้ว แม้เหล่าเทวะและอสูรก็ได้บรรลุศรีสมบัติทั้งปวง พระนางเป็นผู้ประทานธรรมะ อรรถะ กามะ และโมกษะ ทรงเมตตาต่อภักตะทั้งหลาย
Narrator/primary dialogue context not specified in the provided excerpt (commonly Pulastya speaking to Bhīṣma in Padma Purāṇa narrative frames).
Concept: Stuti (praise) and praṇāma (bowing) open the channel for grace; the deity bestows the four puruṣārthas, culminating in mokṣa, out of compassion for devotees.
Application: Make daily space for sincere praise and humility (namaskāra); align desires (artha/kāma) under dharma and aim toward liberation.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: temple
Visual Art Cues: {"scene_description":"Devas and asuras, set aside in a rare truce, stand in concentric circles before Kāmākṣā’s sanctum, offering hymns and prostrations. From the goddess emanates a calm, irresistible radiance, and streams of ‘śrī’—symbolized as golden lotuses—flow toward all who bow, regardless of faction.","primary_figures":["Kāmākṣā","devas (Indra, etc.)","asuras","temple attendants"],"setting":"grand temple forecourt leading to sanctum, with tall pillars, hanging lamps, and lotus-carved steps","lighting_mood":"divine radiance","color_palette":["molten gold","royal blue","vermillion","jade green","smoke-white"],"tanjore_prompt":"Tanjore painting style: Kāmākṣā central with massive gold leaf halo; devas and asuras in symmetrical rows offering stuti and namaskāra; ornate pillars, lamps, and lotus motifs; rich reds/greens, gem-studded crowns, shimmering gold background emphasizing ‘akhilā śrī’.","pahari_prompt":"Pahari miniature style: elegant assembly scene with refined faces; devas and asuras differentiated by attire yet sharing reverent posture; cool blues and soft reds, delicate architectural lines, lyrical composition showing compassion and harmony.","kerala_mural_prompt":"Kerala mural style: bold, iconic Kāmākṣā with attendant figures; devas/asuras in stylized tiers; strong black outlines, saturated reds/yellows/greens, temple mural symmetry and ritual gestures emphasized.","pichwai_prompt":"Pichwai cloth painting style: ceremonial darbar-like worship scene; deep indigo field with gold lotuses drifting outward; ornate floral borders, peacocks, lamp motifs; central deity framed by arch, rhythmic repetition of bowing figures."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["choral chanting","temple bells","conch shell","hand cymbals (tāla)"]}
Sandhi Resolution Notes: देव + असुराः → देवासुराः; देवासुराः + तु → देवासुरास्तु; प्राप्त + अखिलाम् → प्राप्ताखिलाम्; धर्म+अर्थ+काम+मोक्षाणाम् → धर्मार्थकाममोक्षाणाम्; भक्त+अनुकंपिनी → भक्तानुकंपिनी
FAQs
The verse praises a divine feminine figure (“she”) as dātrī—the bestower—of the four puruṣārthas, and as bhaktānukaṃpinī, compassionate to devotees.
By stating that even devas and asuras gained complete prosperity after praising and bowing to her, the verse emphasizes the universal efficacy of her grace beyond factional divisions.
It highlights humility and devotion—stuti (praise) and namana (bowing)—as transformative acts that lead to well-being and ultimately liberation when directed toward the compassionate divine.