Shloka 14
Āgnīdhra Meets Pūrvacitti and Begets the Nine Sons of Jambūdvīpa
योऽसौ त्वया करसरोजहत: पतङ्गोदिक्षु भ्रमन् भ्रमत एजयतेऽक्षिणी मे । मुक्तं न ते स्मरसि वक्रजटावरूथंकष्टोऽनिलो हरति लम्पट एष नीवीम् ॥ १४ ॥
yo ’sau tvayā kara-saroja-hataḥ pataṅgo dikṣu bhraman bhramata ejayate ’kṣiṇī me muktaṁ na te smarasi vakra-jaṭā-varūthaṁ kaṣṭo ’nilo harati lampaṭa eṣa nīvīm
Ang bolang tinamaan mo ng iyong palad na tulad ng lotus ay umiikot sa lahat ng dako at ginugulo pati ang aking mga mata. Ang iyong kulot na maitim na buhok ay nagkalat na, ngunit hindi mo iniintinding ayusin—hindi mo ba ito aayusin? At ang tusong hangin na ito, na parang lalaking mapag-imbot sa babae, ay sinusubukang hilahin ang iyong pang-ilalim na kasuotan; hindi ka ba nag-iingat?
The girl Pūrvacitti was playing with a ball in her hand, and the ball seemed like nothing but another lotus flower captured by her lotuslike palm. Because of her movements, her hair was loose, and the belt holding her cloth was giving way, as if the cunning wind were trying to make her naked. Yet she paid no attention to arranging her hair or fixing her dress. As Āgnīdhra tried to see the girl’s naked beauty, his eyes were very agitated by her movements.
FAQs
The verse portrays how easily the mind is pulled by sensual charm and playful emotion, setting the stage for understanding Ṛṣabhadeva’s extraordinary detachment and the Bhagavatam’s call to rise above mere attraction.
She speaks in affectionate, romantic language to capture his attention, describing a small incident (a moth, the wind, her hair and waistband) as part of the narrative that highlights how even strong allure fails to bind Ṛṣabhadeva.
Notice how quickly attention is hijacked by sensory stimuli, and practice redirecting the mind—through mantra, prayer, and disciplined habits—toward higher purpose and devotion.