Shloka 66
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
दृष्ट्वा च तामप्सरसामभीष्टां वेश्याकृतामन्यभवांतरेषु । जाताथ सा वैश्यकुलोद्भवापि पुलोमकन्या पुरुहूतपत्नी
dṛṣṭvā ca tāmapsarasāmabhīṣṭāṃ veśyākṛtāmanyabhavāṃtareṣu | jātātha sā vaiśyakulodbhavāpi pulomakanyā puruhūtapatnī
ครั้นได้เห็นอัปสรอันเป็นที่รักนั้น—ซึ่งในชาติอื่นเคยถูกทำให้เป็นหญิงคณิกา—นางจึงบังเกิดแม้ในตระกูลไวศยะ เป็นธิดาของปุโลมา และเป็นชายาของปุรุหูต (อินทรา)
Unspecified narrator (contextual narration within Sṛṣṭikhaṇḍa)
Concept: Karma and rebirth can move a being from celestial status to stigmatized roles and back into honored relational identities; social birth does not exhaust spiritual narrative.
Application: Avoid contempt for anyone’s background; recognize unseen histories and cultivate compassion. Use one’s present station for dharmic action and devotion.
Primary Rasa: karuna
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"An apsaras of striking beauty stands at the threshold between worlds: behind her, Svarga’s jeweled halls shimmer; before her, a humble merchant household suggests a vaiśya birth. A translucent overlay shows past-life shadows of a courtesan’s sorrow, while her present identity as Pulomā’s daughter and Indra’s wife is crowned by a quiet, bittersweet radiance.","primary_figures":["the apsaras (Pulomā’s daughter)","Indra (Puruhūta)","Pulomā"],"setting":"Liminal scene blending celestial court and an earthly vaiśya home, with symbolic doorway between realms","lighting_mood":"moonlit","color_palette":["silver white","sapphire blue","soft gold","rose pink","smoky brown"],"tanjore_prompt":"Tanjore painting style: apsaras portrayed with ornate jewelry and gold leaf halo, split-scene composition—left: Svarga palace with Indra (Puruhūta) enthroned; right: modest vaiśya household with Pulomā, past-life courtesan shadow motif subtly behind, rich reds and greens, heavy gold embellishment and traditional iconography.","pahari_prompt":"Pahari miniature style: delicate apsaras in graceful stance at a doorway between a jeweled celestial pavilion and a simple earthly courtyard, cool moonlit palette, refined facial features, gentle melancholy, subtle narrative layering of past and present births.","kerala_mural_prompt":"Kerala mural style: bold outlined apsaras with stylized eyes, Indra in upper panel, earthly household in lower panel, strong red-yellow-green pigments, clear iconographic separation of realms with decorative borders, karmic transition suggested through patterned bands.","pichwai_prompt":"Pichwai cloth painting style: central apsaras framed by lotus and floral borders, deep blue background with gold motifs, small Indra figure in a top medallion, earthly household vignette in side panel, peacocks and lotuses adding lyrical contrast to the karmic narrative."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["soft veena","distant celestial chimes","night insects","gentle ankle-bell tinkle","low drone"]}
Sandhi Resolution Notes: tāmapsarasāmabhīṣṭām = tām + apsarasām + abhīṣṭām; anyabhavāṃtareṣu = anya-bhava-antareṣu; jātātha = jātā + atha; vaiśyakulodbhavāpi = vaiśya-kula-udbhavā + api.
FAQs
“Puruhūta” is an epithet of Indra, the king of the gods, meaning “he who is invoked/called upon much.”
It links a celestial apsaras with a sequence of births, indicating karmic variation across lives—being born even in a vaiśya family—and identifies her as Pulomā’s daughter and Indra’s wife.
Implicitly, it underscores the Purāṇic theme of transmigration: status and circumstance can change across births due to prior actions and destiny, even for exalted beings like apsarases.