सौन्दर्यलहरी श्लोक ॥ ६॥ धनुः पौष्पं मौर्वी मधुकरमयी पञ्च विशिखाः वसन्तः सामन्तो मलयमरुदायोधनरथः। तथाप्येकः सर्वं हिमगिरिसुते कामपि कृपाम् अपाङ्गात्ते लब्ध्वा जगदिद-मनङ्गो विजयते॥ ६॥ ಧನುಃ ಪೌಷ್ಪಂ ಮೌರ್ವೀ ಮಧುಕರಮಯೀ ಪಞ್ಚ ವಿಶಿಖಾಃ ವಸನ್ತಃ ಸಾಮನ್ತೋ ಮಲಯಮರುದಾಯೋಧನರಥಃ| ತಥಾಪ್ಯೇಕಃ ಸರ್ವಂ ಹಿಮಗಿರಿಸುತೇ ಕಾಮಪಿ ಕೃಪಾಮ್ ಅಪಾಙ್ಗಾತ್ತೇ ಲಬ್ಧ್ವಾ ಜಗದಿದ-ಮನಙ್ಗೋ ವಿಜಯತೇ|| ೬|| தநுஃ பௌஷ்பம் மௌர்வீ மதுகரமயீ பஞ்ச விஶிகாஃ வஸந்தஃ ஸாமந்தோ மலயமருதாயோதநரதஃ| ததாப்யேகஃ ஸர்வம் ஹிமகிரிஸுதே காமபி க்ருபாம் அபாங்காத்தே லப்த்வா ஜகதித-மநங்கோ விஜயதே|| ௬|| ధనుః పౌష్పం మౌర్వీ మధుకరమయీ పఞ్చ విశిఖాః వసన్తః సామన్తో మలయమరుదాయోధనరథః| తథాప్యేకః సర్వం హిమగిరిసుతే కామపి కృపామ్ అపాఙ్గాత్తే లబ్ధ్వా జగదిద-మనఙ్గో విజయతే|| ౬|| ധനുഃ പൗഷ്പം മൗര്വീ മധുകരമയീ പഞ്ച വിശിഖാഃ വസന്തഃ സാമന്തോ മലയമരുദായോധനരഥഃ| തഥാപ്യേകഃ സര്വം ഹിമഗിരിസുതേ കാമപി കൃപാമ് അപാങ്ഗാത്തേ ലബ്ധ്വാ ജഗദിദ-മനങ്ഗോ വിജയതേ|| ൬|| ધનુઃ પૌષ્પં મૌર્વી મધુકરમયી પઞ્ચ વિશિખાઃ વસન્તઃ સામન્તો મલયમરુદાયોધનરથઃ| તથાપ્યેકઃ સર્વં હિમગિરિસુતે કામપિ કૃપામ્ અપાઙ્ગાત્તે લબ્ધ્વા જગદિદ-મનઙ્ગો વિજયતે|| ૬|| ধনুঃ পৌষ্পং মৌর্ৱী মধুকরমযী পঞ্চ ৱিশিখাঃ ৱসন্তঃ সামন্তো মলযমরুদাযোধনরথঃ| তথাপ্যেকঃ সর্ৱং হিমগিরিসুতে কামপি কৃপাম্ অপাঙ্গাত্তে লব্ধ্ৱা জগদিদ-মনঙ্গো ৱিজযতে|| ৬|| ଧନୁଃ ପୌଷ୍ପଂ ମୌର୍ଵୀ ମଧୁକରମଯୀ ପଞ୍ଚ ଵିଶିଖାଃ ଵସନ୍ତଃ ସାମନ୍ତୋ ମଲଯମରୁଦାଯୋଧନରଥଃ| ତଥାପ୍ଯେକଃ ସର୍ଵଂ ହିମଗିରିସୁତେ କାମପି କୃପାମ୍ ଅପାଙ୍ଗାତ୍ତେ ଲବ୍ଧ୍ଵା ଜଗଦିଦ-ମନଙ୍ଗୋ ଵିଜଯତେ|| ୬|| dhanuH pauShpa.n maurvii madhukaramayii pa~nca vishikhaaH vasantaH saamanto malayamarudaayodhanarathaH . tathaapyekaH sarvaM himagirisute kaamapi kR^ipaam.h apaaN^gaatte labdhvaa jagadida\-manaN^go vijayate .. 6.. (Getting sons as progeny) Dhanun paushpam maurvi madhu-kara-mayi pancha visikha Vasantaha samanto Malaya-marud ayodhana-rathah; Tathapy ekah sarvam Himagiri-suthe kam api kripaam Apangat te labdhva jagadidam Anango vijayate Oh ,daughter of the mountain of ice,With a bow made of flowers, Bow string made of honey bees,Five arrows made of only tender flowers, With spring as his minister,And riding on the chariot of breeze from Malaya mountains The god of love who does not have a body,Gets the sideways glance of your holy eyes, And is able to win all the world alone. Verse 6. The flowery bow, the bow string made of a line of bees, the five flower arrows, spring season being the minister, Malaya breeze being the war chariot: these are the possessions of the Ananga (bodiless) KAmadeva (Cupid). O daughter of the snowy mountain, having obtained krupa (compassion) from the corner of your eye, Ananga triumphs over this world The glance of Sakti confers triumph while the feet of Siva bestows bliss to the votary. KAmadeva = KAma + deva = desire, wish, love + deity = the fulfiller of desires or god of love. KAma appears in Rg Veda and his consort is Rati; the couple are the deification of beauty, happiness and fulfillment. KAma is desire which arose in the mind of that One, the Being. That was the Will of God; then came fulfillment. Later Kama assumed an erotic role and there are many stories associated with him in that role. One that was significant and precipitated the loss of his physical body and subsequent existence as Ananga, the bodiless form of Kama. A+Anga = absent + body /body parts. The story is as follows. This excellent Madhubani painting has its canvas divided into upper and lower compartments. The upper one portrays Lord Shiva engaged in deep and rigorous penance inside a tree-grove on a mountain range, obviously the Himalayas. He is seated on lion skin. His third eye has been prominently portrayed on his forehead. On his right he has his trident and drum nailed into ground and on his left he has his kamandala. The Neelakantha or the blue throated Shiva has been portrayed as total blue. Black trees with green leaves are typical of Madhubani art. The lower compartment depicts Rati and Kamadeva. Kamadeva has in his hands his bow and arrow ready to shoot. Two flowering plants, one each on both sides, further symbolise Kamadeva and the season of spring when Kama is stronger than ever else. In front of Kamadeva there emerges a heap of fire and coal like black ashes under it. It depicts the prime theme, that is, Kamadeva reduced to ashes. This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture. Credit: exoticindia The story of Kama becoming a bodiless Ananga Lord Siva was seated in yogic meditation. Kama came along to disturb his meditation, but was destroyed by Siva. Siva, the destroyer, was in meditation for sometime, which resulted in the increase in the population of earth and a heavy burden on Mother Earth. The gods sent Kama (god of love, cupid, Amos, Eros) to shoot flowery Harshana (one of the five erotic arrows) on Siva and disturb his penance at the precise moment he woke up to receive his Divine Consort Parvati. He (Kama) by his magical power created an ambience of spring in the air, earth, and trees, conducive to love. Siva woke up from meditation, took one look at Parvati, and could not stop enjoying and articulating his appreciation of the beautiful features of Parvati, who, in the privacy of Siva’s presence, lay bare gracefully, sporting sidelong glances at Siva. Siva felt like two persons, one imbibing the beauty of Parvati and another, Yogi of all yogis bent on control of the senses. He felt that if seeing is great pleasure, embracing must give even greater pleasure. Suddenly it dawned on him that he was stung by Kama’s arrows and bitten by love. How could that happen to a Yogi of yogis, who has complete control over his senses? Paramayogi Siva addressed Parvati in a loving manner and wondered aloud to her, how he became a victim to Kama and how that downfall is harmful to his excellent reputation as the Lord of Vairagya (detachment, renunciation, desirelessness). He advised Parvati, in a spirit of platonic detachment, not to sit by his side on the couch, and looked around for he felt uncomfortable in being aroused. He felt that the Vairagin and Yogi (in him) were associating with a wife of someone else; such was the depth of his Vairagya. Kama continued to shoot arrows at Siva with no effects. Sivas anger was coming to surface. A fire rising from the third eye of Siva incinerated Kama into ashes. That incident happened in Korukkai. One of Sivas Ganas (attendant of Siva) gathered the ashes of Kama and shaped it in the form of man. The Gana begged Siva to teach him a mantra and confer half the power of Kama to the ash-made man. Since the Ash-man was dead Kama and the result of Sivas fury, the Ash-man became a demon, who with his newfound strength and power defeated the gods who sought the help of Tripurasundari, who defeated the demon and restored the gods to their former status. (Bhasman or Sacred Ash is euphemism for the semen virile of Siva. Incineration brings all substances to their pristine primal state.) Rati, Kamas wife, came to Siva and begged him to give her husband back to her. Siva restored Kama not to the physical state but to a mental image, a representation of true love and affection and since then he is also known by the epithet, Ananga. TPS = Tripurasundari (The Ash-man asked and obtained Mantra from Siva who congratulates him with epithet Bhand, Bhand (good, good); so the name Bhanda stuck with the Ash-man. Since Bhanda is the product of Sivas anger and later ash and much later with the power of mantra he built a city rivaling the City of gods ruled by Indra, Sivas Gana becomes a demon. It appears that Bhanda is the fusion product of Sivas Gana and the ash of Kama. Bhanda rules his kingdom for sixty thousand years. Bhanda attacks the city of gods, Indra and his army; immediately on the advice of Narada Muni, Indra goes to TPS for help. The gods offer their own flesh and blood as sacrificial present to TPS. The gods also perform a marriage of Siva with TPS, as an act of propitiation. TPS sends the Saktis or the Matrakas (fighting mothers) to face the demon Bhanda, who ridicules the fighting females. From the bodies of TPS and her enemy Bhanda, many previously documented enemies are created to fight each other. When Bhanda creates Hiranyakasippu, TPS creates Prahalada to defeat him; in like manner, Bhandas Ravana sustains defeat at the hands of Rama created from the fingernail of TPS. Nama 80 of Lalita Sahasranama says ten avatars of Vishnu emerge from her fingernails to do the fighting against the Forces of Darkness. From the right thumb nail of the Divine Queen, the all-pervading Narayana emerges in the form of great Fish (Matsya). The ten Avatars, after the task is accomplished, stand before her with folded hands and pay obeisance to Lalita (TPS). Demon Mahisasura comes alive and Durga defeats him; at last TPS kills Bhanda. Once the battle is over, gods and Rati, Kamas consort appear before TPS and beg her to bring Kama back to life from death caused by Siva. TPS obliges the gods and panegyrizing Rati. This episode shows that all avatars of Vishnu are resident in her and she can produce them as the occasion demands. Not only male gods are her avatars, but goddesses Bharati, Chandika, Gauri, Kali, and Kumari are her avatars too. KAma (Ananga) belongs to the race, Yaksa, jungle spirits, vegetal godlings, popular also in Jaina mythology and Buddhist lore. Students of South Asian religion from the west are of the belief that Yaksas were not Vedic in origin, thus suppressed and later integrated with Non-Aryan gods like Siva. That is the story of Siva incinerating Kama, the Yaksa into ash: non-Aryan on non-Aryan violence, similar to black on black violence. Hindu devotees dont believe in wests opinion. Kubera is another Yaksa of great fame and immense wealth.
Posted on: Thu, 25 Dec 2014 14:05:40 +0000
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