SRI #MADHWAVIJAYAHA – YEKADASHAHA SARGAHA SHLOKAS 40 to 42 (79) ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಏಕಾದಶ ಸರ್ಗ 40ರಿಂದ 42ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (79)

SRI #MADHWAVIJAYAHA – YEKADASHAHA SARGAHA SHLOKAS 40 to 42 (79)

ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಏಕಾದಶ ಸರ್ಗ 40ರಿಂದ  42ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (79)

ಸ್ಮಿತಮಾಧವೀಕುಸುಮರಮ್ಯತರೌ ನವಚಂಪಕಾದಿಕುಸುಮೋಲ್ಲಸಿತೌ|

ಮಧುಮಾಧವೌ ಮಧುಪಗೀರ್ಮಧುರೌ ಮಧುಜಿತ್ಪ್ರಿಯಾನ್ಪ್ರಮದಮಾನಯತಃ||40||

SmitamADhaveekusumaramyatarau navachampakAdikusumOllasitau|

MaDhumADhavau maDhupageermaDhurau maDhujitpriyAnpramadamAnayataha||40||

स्मितमाधवीकुसुमरम्यतरौ नवचम्पकादिकुसुमॊल्लसितौ।

मधुमाधवौ मधुपगीर्मधुरौ मधुजित्प्रियान्प्रमदमानयतः॥४०॥

SUMMARY: The months of Chaitra and Vaishakha Masa (Spring season that arrives in April-May), when the air is filled with the sweet sound of singing beetles and the nature is adorned with blossomed Madhavee flowers (Gaertnera Racemosa), Champak (Sampige-Michalia Champaca) and other flowers, make the devotees of Lord Hari, the beloved of beetles and hence known as Madhusudhana, happy.

Description of seasons is one of the mandatory characteristics of epic poetry (Mahakavya) and hence stanzas from 40 to 44 in this sarga focus of description of the seasons.

This stanza asserts that in Vaikuntha, all sorts of trees, creepers and plants produce respective palms, flowers and fruits promptly and hence the entire Vaikuntha is always colourful, fragrant and enchanting.

VaikunThavanam sarvartuShwapi niyamEna swaswakAlOchitaPhalapuShpAdiBhiralankrutamEvEti BhAvaha|

वैकुन्ठवनं सर्वर्तुष्वपि नियमॆन स्वस्वकालॊचितफलपुष्पादिभिरलन्कृतमॆवॆति भावः।

ವನಮಲ್ಲಿಕಾಸ್ರಜಮಭೀಷ್ಟತಮಃ ಶುಚಿಸಂಭವಾಂ ಪ್ರಣಯಿನೀಶಿರಸಿ|

ಕಲಯನ್ ಸ್ವಯಂ ನ ಕುಶಲೇತಿ ಕಿಲ ಪ್ರತಿಘಟ್ಟಯತ್ಯುರುಕುಚಾವುರಸಾ||41||

VanamallikAsrajamaBheeShTatamaha shuchisamBhavAm praNayineeshirasi|

Kalayan swayam na kushalEti kila pratiGhaTTayatyurukuchAvurasA||41||

वनमल्लिकास्रजमभीष्टतमः शुचिसंभवां प्रणयिनीशिरसि।

कलयन् स्वयं न कुशलॆति किल प्रतिघट्टयत्युरुकुचावुरसा॥४१॥

SUMMARY: A lover holding a jasmine garland tells his female lover “You do not know how to wear this”, embraces her under the pretext of wearing the garland on her head and presses her bulky breasts.

This stanza describes Greeshma Ritu. This relates to the months of May-June-July.

ಮಧುರಸ್ವರಾಸ್ತತಪತತ್ರತತಿಪ್ರಕಟಾಪಂಕ್ತಿಧೃತನೇತ್ರರುಚಃ|

ಶಿಖಿನೋsನುಯಾಂತಿ ಹಿ ಸಹಸ್ರದೃಶಂ ಜಲದರ್ತುಲಕ್ಷ್ಯ್ಮನಿಜನೃತ್ತಮಹೇ||42||

MaDhuraswarAstatapatatratatiprakaTApangtiDhrutanEtraruchaha|

ShiKhinO(s)nuyAnti hi sahasradrusham jaladartulakShymanijanruttamahE||42||

मधुरस्वरास्ततपतत्रततिप्रकटापंक्तिधृतनॆत्ररुचः।

शिखिनॊsनुयान्ति हि सहस्रदृशं जलदर्तुलक्ष्मनिजनृत्तमहॆ॥४२॥

SUMMARY: The melodious peacocks, which celebrate the Varsharitu (months of August-September) by frenzily dancing and spread their feathers around, imitate the thousand-eyed (Sahasranetra) Lord Indra with the eye-like roundish designs on the edge of their feathers.

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Sri #Jagannathadasa virachita SRI #HARIKATHAMRUTASARA/ ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

Sri #Jagannathadasa virachita
SRI #HARIKATHAMRUTASARA/
ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

260.      ಆರಧಿಕದಶ ಕಳೆಗಳುಳ್ಳ ಶ-

                ರೀರ ಅನಿರುದ್ಧಗಳ ಮಧ್ಯದಿ

                ಸೇರಿಯಿಪ್ಪದು ಜೀವ ಪರಮಾಚ್ಛಾದಿಕದ್ವಯವು|

                ಬಾರದಂದದಿ ದಾನವರನತಿ-

                ದೂರಗೈಸುತ ಶ್ರೀಜನಾರ್ದನ

                ಮೂರು ಗುಣದೊಳಗಿಪ್ಪನೆಂದಿಗು ತ್ರಿವೃತು ಎಂದೆನಿಸಿ||14||

            AaraDhikadasha kaLegaLuLLa sha-

            Reera anirudDhagaLa maDhyadi

            sEriyippadu jeeva paramAchChAdikadwayavu|

            BAradandadi dAnavaranati-

            dUragaisuta shreejanArdana

            mooru guNadoLagippanendigu trivrutu yendenisi||14||

SUMMARY: At the middle of this corporal body of sixteen scars or weeds and the body of Aniruddha, the two waves named as “JeevaachChAdita” (covered with life) and “ParamAchChAdita” (covered with the Lord) converge together. Lord Sri Hari, who is Janardana, with his presence in the name of Trivrut that symbolizes three characters, stops demons from entering the body and drives them away.  

Scholars explain the conception of ‘sixteen scars or weeds’ as comprising of Five sensory organs, five external/action organs, Five tanmatras and the mind.

This is mentioned in ChandOgyaBhAShya (A.8):

‘BhUtairmahadBhirya imAha purO viBhu-

rnirmAya shEtE yadamUShu pUruShaha|

BhungtE guNAn ShODasha ShODashAtmakaha

sO(s)lankruSheeShTaBhagavAn vachAmsi mE’

—    ItyAdau Bhagavata yEvEndriyairBhOgOktEshcha|’

 

’भूतैर्महद्भिर्य इमाः पुरॊ विभु-

र्निर्माय शॆतॆ यदमूषु पूरुषः।

भुन्क्तॆ गुणान् षॊडश षॊडशात्मकः

सॊsलन्कृष्ट भगवान् वचांसि मॆ’

—    इत्यादौ भगवत ऎवॆन्द्रियैर्भॊगॊक्तॆश्च।छान्दॊग्यभाष्य (अ.८)

Thus, since Lord Hari is present in the mind and two types of organs in three forms each, representing three types of character namely Satva, Rajas and Tamas, he is also called as Trivrut.

This concept has wide ranging explanation in Shrutis and Smrutis, Bharata Tatparya, VishNurahasya, PrakAshasamhitA and so on.

It is difficult to exactly interpret ‘SwaguNAchChAdika” and “ParamAchChAdika” concepts. It is understood differently from what has been indicated in the summary above. However, on a higher plane, the quality of hiding or concealing the characters of human beings is known as “SwaguNAchChAdika” and the force or power that prevents humans from seeing the Lord is known as “ParamAchChAdika”. The “SwaguNAchChAdika” vanishes or disappears instantly after the Darshan of Lord Brahma. “ParamAchChAdika” is eternal and Lord Sri Hari destroys “SwaguNAchChAdika" and drives away the “ParamachChAdika” for Sajjanas or virtuous.
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SRI #MADHWAVIJAYAHA – YEKADASHAHA SARGAHA SHLOKAS 36 to 39 (79)

ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಏಕಾದಶ ಸರ್ಗ 36ರಿಂದ  39ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (79)

ಅನುಪಾಲಿತಾಃ ಸ್ವದಯಿತೈರ್ದಯಿತಾಃ ಕಥಮಪ್ಯುಪೇತ್ಯ ಕುಚಭಾರನತಾಃ|

ಶನಕೈಃ ಪುನಸ್ತದವಲಂಬಬಲಾತ್ ಕಿಲ ತಾ ವಿಶಂತಿ ಪರಮೋಪವನಮ್||36||

AnupAlitAha swadayitairdayitAha kaThamapyupEtya kuchBhAranatAha|

Shanakaihi punastadavalambabalAt kila tA vishanti paramOpavanam||36||

अनुपालिताः स्वदयितैर्दयिताः कथमप्युपॆत्य कुचभारनताः।

शनकैः पुनस्तदवलंबबलात् किल ता विशन्ति परमॊपवनम्॥३६॥

SUMMARY: Being eagerly awaited by their consorts, those women, slightly bent due to the weight of their breasts, somehow reach their husbands with great efforts and later, relying on their husbands’ support, they enter the celestial gardens.

Here, the word ‘kila’ indicates that the struggle, strain, great efforts etc. are not experienced by them, literally. It is just a pretention.

The gardens in heavens are not set up by any authority. Virtuous people utilize their spare time in setting up tiny parks, more with an intention to grow plants that yield fragrant flowers and tasty fruits.

ಹಸಿತಪ್ರಸೂನನಿಕರೋರುಭರಪ್ರಣಮತ್ಸುವರ್ಣಮಣಿಸರ್ವತರೂನ್|

ಉಪಗೂಹಯನ್ನಮೃತಸಿಂಧುಸಖಃ ಪವನೋ ನ ಕಸ್ಯ ಸುಖಮೇಧಯತಿ||37||

HasitaprasoonanikarOruBharapraNamatsuvarNamaNisarvataroon|

UpagUhayannamrutasinDhusaKhaha pavanO na kasya suKhamEDhayati||37||

हसितप्रसूननिकरॊरुभरप्रणमत्सुवर्णमणिसर्वतरून्।

उपगूहयन्नमृतसिन्धुसखः पवनॊ न कस्य सुखमॆधयति॥३७॥

SUMMARY: Will not breeze, the close accompaniment of oceans that blow on all those gold-draped trees that are bent to the ground due to the weight of the fully blossomed flowers enhance the happiness of anyone?

The fact that two oceans named as “Ara” and “Nya” are there in the Vaikuntha is revealed in this stanza.

ಶನಕೈಃ ಉಪಚಾರನಂದನಮಿದಂ ದ್ಯುವನಂ ನಿಯಮೇನ ನಂದಯತಿ ಯನ್ನಜನಮ್|

ಪರಮೇವ ನಂದನಮುಪೇಂದ್ರವನಂ ಸಕಲಂ ಸದಾ ಯದಭಿನಂದಯತಿ||38||

Shanakaihi upachAranandanamidam dyuvanam niyamEna nandayati yannajanam|

ParamEva nandanamupEndravanam sakalam sadA yadaBhinandayati||38||

शनकैः उपचारनन्दनमिदं द्युवनं नियमॆन नन्दयति यन्नजनम्।

परमॆव नन्दनमुपॆन्द्रवनं सकलं सदा यदभिनन्दयति॥३८॥

SUMMARY: The forest in heaven is known as Nandanavana for name’s sake only because it cannot, as a rule of law, provide the same sort of comfort and enjoyment to all, always; this forest in Vaikuntha of Sri Hari, who is called as Indra too, is the real Nandanavana as it gives happiness to everyone coming there, always.

The Orchards in Vaikuntha is superior compared to the Nandanavana in Heaven or Indra Loka and that is why the poet here says that the one in Vaikuntha is the real Nandanavana.

Sri Vendanga Tirtharu and Sri Vishwapati Tirtharu have not elaborated this stanza and Sri Chalari Acharya too opines that this stanza is ‘insignificant’.

ವರಪಾರಿಭದ್ರಕಸುಕಲ್ಪತರುವ್ರಜಪಾರಿಜಾತಹರಿಚಂದನವತ್|

ಸಹಿತಂ ಸಮಾದಿಪದತಾನನಗೈಃ ಪರಿಭೂಷಯಂತಿ ತದಹೋ ಋತವಃ||39||  

VarapAriBhadrakasukalpataruvrajapArijAtaharichandanavat|

Sahitam samAdipadatAnanagaihi pariBhUShayanti tadahO Rutavaha||39||

वरपारिभद्रकसुकल्पतरुव्रजपारिजातहरिचन्दनवत्।

सहितं समादिपदताननगैः परिभूषयन्ति तदहॊ ऋतवः॥३९॥

SUMMARY: This Orchards where clusters of five great divine trees that yield flowers named as Paribhadra (Mandara) or the Coral tree, Celestial (Kalpavruksha),Paarijaata (Jatropha Multifida), Redsanders (Harichandana) and Santana (for most of these trees, the “Amarakosha” mentions a common name ‘celestial trees’) are adorned by all Ritus or seasons.

Amarakosha mentions: MandaarashabdEna pAriBhadrO grAhyaha| ‘PAriBhadrO nimbakatarurmandAraha pArijAtakaha’ ityamarakOshOktEhe||Chalari||    

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Sri #Jagannathadasa virachita SRI #HARIKATHAMRUTASARA/ ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

Sri #Jagannathadasa virachita

SRI #HARIKATHAMRUTASARA/
ಶ್ರೀ #ಜಗನ್ನಾಥದಾಸ ವಿರಚಿತ ಶ್ರೀ #ಹರಿಕಥಾಮೃತಸಾರ

258.      ಗರುಡ ಶೇಷ ಭವಾದಿ ನಾಮವ

                ಧರಿಸಿ ಪವನ ಸ್ವರೂಪದೇಹದಿ

                ಕರಣನೀಯಾಮಕನು ತಾನಾಗಿಪ್ಪ ಹರಿಯಂತೆ|

                ಸರಸಿಜಾಸನ ವಾಣಿ ಭಾರತಿ

                ಭರತನಿಂದೊಡಗೂಡಿ ಲಿಂಗದ-

                ಲಿರುತಿಹರು ಮಿಕ್ಕಾದಿತೇಯರಿಗಿಲ್ಲವಾ ಸ್ಥಾನ||12||

            GaruDa shESha BhavAdi nAmava

            Dharisi pavana swarUpadEhadi

            karaNaneeyAmakanu tAnAgippa Hariyante|

            sarasijAsana VANi BhArati

            BharatanindoDagUDi lingada-

            Lirutiharu mikkAditEyarigillavA sThAna||12||

SUMMARY: Lord Vayu wears names of Garuda, Shesha, Rudra and others, exists in the forms of beings and monitors their actions and reactions. Brahma, Saraswati and Bharati will join force with Lord Vayu to be present in the beings. Other deities do not have such status.

Most important message of this stanza is that Lord Vayu alone has that ‘eligibility’ to be present in beings, apart from Lord Hari. However, Lord Hari is present in the bodies in the form of a shadow or reflection and Lord Vayu is present as the worshipper of the Lord, controlling the deeds of the respective body.

There is room to believe that Garuda, Shesha and Rudra too can enter into the bodies. However, it has been clarified here that Lord Vayu assumes those names and is called or addressed as Vayu, not as Garuda, Shesha or Rudra.

Another significant aspect of this stanza is that Lord Vayu is the favoring deity of body and sensory organs. He cautions the body or the self every now and then.

JeevasThitEna rUpENa vEdayatyahamityapi| NyayavivaraNa 4/2/2|

जीवस्थितॆन रूपॆण वॆदयत्यहमित्यपि। न्यायविवरणा ४/२/२।  

Rigveda 10/114 Gharma Sukta: ‘GharmA samantAt trivrutam vyApatustayOrjuShTim mAtarishwA jagAma’

 

घर्मसूक्तः रिग् वॆद १०/११४: ’घर्मा समन्तात् त्रिवृतं व्यापतुस्तयॊर्जुष्टिं मातरिश्वा जगाम’

BhagavatatAtparyadeepika mentions: ‘MuktAnAm samsrutisThAnAm neechAnAm dEhagO hi saha’ iti yEkAdashatAtparya vyAKhyAnAvasarE itThamuktam|

’मुक्तानां संसृतिस्थानां नीचानां दॆहगॊ हि सः’ इति ऎकादशतात्पर्यव्याख्यानावसरॆ इत्थमुक्तम्।भागवततात्पर्यदीपिका।

 

Dr. Sri Vyasanakere Prabhanjanacharyaru in his compilation of Harikathamrutasara has provided wide ranging references on this subject drawn from NyAyavivaraNa, TAmraparNeeya NyAyavivaraNa TippaNi, PavamanasahmitA and PrakAshashmitA.

 

259.     ಜೀವನಕೆ ತುಷದಂತೆ ಲಿಂಗವು

                ಸಾವಕಾಶದಿ ಪೊಂದಿ ಸುತ್ತಲು

                ಪ್ರಾವರಣರೂಪದಲಿ ಇಪ್ಪದು ಭಗವದಿಚ್ಛೆಯಲಿ|

                ಕೇವಲ ಜಡಪ್ರಕೃತಿ ಇದಕಧಿ-

                ದೇವತೆಯು ಮಹಲಕ್ಷ್ಮಿಯೆನಿಪಳು

                ಆ ವಿರಜೆಯ ಸ್ನಾನಪರಿಯಂತರದಿ ಹತ್ತಿಹುದು||13||

            Jeevanake tuShadante lingavu

            sAvakAshadi pondi suttalu

            prAvaraNarUpadali ippadu BhagavadichCheyali|

            KEvala jaDaprakruti idakaDhi-

            dEvateyu mahalakShmiyinipaLi

            Aa virajeyu snAnapariyantaradi hattihudu||13||

SUMMARY: Like the skin that covers the grains, the body or shape of any being is just an opportunity to act as per the corridor of the wishes or directions of the Lord. This is just a solid nature and its prime deity is Mahalakshmi. This body will not be removed till it bathes in Viraja River in Vaikuntha.

 

This stanza makes it clear that the present body form or shape of beings is called Linga Deha or the gender body and it is different from Swaroopa Deha or the original form that undergoes, may be, metamorphosis or a sort of transformation into several other beings before assuming the human form. From this human form, the Swaroopa Deha may get salvation or may again end up in cycle of various births and deaths.

 

Vishnurahasya mentions:

‘MOkShADhikAriNAmEva jnAnaishwaryAdayO guNAha|

TEShAmAchChAdayatyEkA tamOgA sA prakeertitA||

Jeevam prati mahAviShNum prAptwA(ss)chChAdayati praBhO|

SA parA prakrutirjnEyA paramAchChAdikA smrutA||

Tatra viShNOrmahABhAga swaguNAchChAdikAm hana|

ParamAchChAdikAm duShTAm vyAGhuTTya cha mahapraBhO|

MOkSham dEhi mahABhAga twadBhaktAnAm mahApraBhO||

‘मॊक्षाधिकारिणामॆव ज्ञानैश्वर्यादयॊ गुणाः।

तॆषामाच्छादयत्यॆका तमॊगा सा प्रकीर्तिता॥

जीवं प्रति महाविष्णुं प्राप्त्वाssच्छादयति प्रभॊ।

सा परा प्रकृतिर्ग्नॆया परमाच्छादिका स्मृता॥

तत्र विश्णॊर्महाभाग स्वगुणाच्छादिकां हन।

परमाच्छादिकां दुष्टां व्याघुट्ट्य च महाप्रभॊ॥

मॊक्षं दॆहि महाभाग त्वद्भक्तानां महाप्रभॊ॥विष्णुरहस्य॥

 

The word “hattihudu” (ಹತ್ತಿಹುದು) clearly states that the body of any being is fully bound. It has absolutely no freedom.              

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SRI #MADHWAVIJAYAHA – YEKADASHAHA SARGAHA SHLOKAS 32 to 35 (79)

ಶ್ರೀ #ಮಧ್ವವಿಜಯ – ಏಕಾದಶ ಸರ್ಗ 32ರಿಂದ  35ನೇ ಶ್ಲೋಕಗಳ ಅರ್ಥವಿವರಣೆ (79)

Shlokas from 32 to 35 are inter-connected and hence being in sequence.

ಕರಪಲ್ಲವೈಸ್ತರಲಿತೈರ್ಲಲಿತೈರಸಕೃತ್ಕ್ವಣತ್ಕನಕಕಂಕಣಕೈಃ|

ನವರೋಮರಾಜಿವಲಿವಲ್ಗುಮೃದುಪ್ರತನೂದರೈರತಿಮನಾಕ್ತರಲೈಃ||32||

ಕುಚಕುಂಭಪೂರ್ಣತರಕಾಂತಿಸುಧಾರಸಶೇಷಬಿಂದುವಿಸರಚ್ಛವಿಭಿಃ|

ವರಹಾರರಾಜಿಭಿರುತಾನುಪದಂ ಪರಿಲೋಡಿತಾಭಿರಶನೈರುರಸಿ||33||

ಅಪಿ ಲೀಲಯಾ ಕುವಲಯೋಲ್ಲಸಿತೈರಪರೈಃ ಕರೈಃ ಸಹಚರೀನಿಹಿತೈಃ|

ವದನೈಃ ಶುಚಿಸ್ಮಿತಕಟಾಕ್ಷರಸೈಶ್ಚಲಕುಂಡಲೋಲ್ಲಸಿತಗಂಡಯುಗೈಃ||34||

ಪ್ರಗತಾಸು ತಾಸು ರಣಿತೈರಶನಾಮಣಿನೂಪುರೈರಿವ ಪುರಾ ಗದಿತಾಃ|

ಅನುವಿಕ್ಷಿತುಂ ತನುವಿಲಾಸಮಿಮಂ ತರುಣಾ ಭವಂತ್ಯಥ ನಿವೃತ್ತಮುಖಾಃ||35||

KarapallavaistaralitairlalitairaskrutkwaNatkanakakankaNakaihi|

NavarOmarAjivalivalgumrudupratanUdarairatimanAktaralaihi||32||

KuchakumBhapUrNatarakAntisuDhArasashEShabinduvisarachChaviBhihi|

VarahArarAjiBhirutAnupadam parilODitABhirashanairurasi||33||

Api leelayA kuvalayOllasitairaparaihi karaihi sahachareenihitaihi|

Vadanaihi shuchismitakaTAkSharasaishchalakunDalOllasitaganDayugaihi||34||

PragatAsu tAsu raNirairashanAmaNinUpurairiva purA gaditAha|

AnuveekShitum tanuvilAmimam taruNA BhavantyaTha nivruttamuKhAha||35||

करपल्लवैस्तरलितैर्ललितैरसकृत्क्वणत्कनककन्कणैः।

नवरॊमराजिवलिवल्गुमृदुप्रतनूदरैरतिमनाक्तरलैः॥३२॥

कुचकुंभपूर्णतरकांतिसुधारसशॆषबिंदुविसरच्छविभिः।

वरहारराजिभिरुतानुपदं परिलॊडिताभिरशनैरुरसि।।३३॥

अपि लीलया कुवलयॊल्लसितैरपरैः करैः सहचरीनिहितैः।

वदनैः शुचिस्मितकटाक्षरसैश्चलकुंडलॊल्लसितगंडयुगैः॥३४॥

प्रगतासु तासु रणितैरशनामणिनूपुरैरिव पुरा गदिताः।

अनुवीक्षितुं तनुविलासमिमं तरुणा भवन्त्यथ निवृत्तमुखाः॥३५॥

SUMMARY: Later, the pleasant musical sound of the movement of the soft hands of those women wearing gold bangles making continuous sound; their subtle hair lines; most attractive, charming and lean stomach (32); the coral garlands that swing every minute below their breasts; the radiation surrounding their sensuous curves of their body (33); the right hands that are always adorned with red lotus in a sporting posture; the left hands put on the shoulders of their fellow females (34); when the young women adorned with such divine features were slowly treading, their young husbands were looking back every now and then, attracted by the sound of the bangles, chains, garlands and so on, as though they were being called by their respective consorts.   

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