Beauty Itself Has Put On Ornaments
Bala Kanda, Doha 241
Doha 241 · Movement 2 of 2
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The women of the assembly gaze with joyful hearts. Like every other group, they behold Ram according to the love and inner disposition through which they receive him.
Before them, it seems Beauty itself has put on ornaments and assumed a form beyond comparison. Jewels, garments, tilaka, bow, and youthful grace do not create the splendour. Beauty wears them.
No analogy remains adequate. The one who entered as Dasharatha's son becomes the visible principle by which every lovely thing is recognized, now seated within the bow hall under the eyes of Mithila.
In the women's sight, Beauty wears a crown and sits before Shiva's bow.
Read the passage from the Manas
AI-created devotional illustration · Doha 241
Full Soratha241 retained; selected ONE anonymous adult woman joyfully beholding princes outside crop.
Source reference and artistic choices
Gita Press code81 undated · PDF pages 237 · printed pages 235. Reader passage: bala-kanda-doha-242. Printed numbering may differ.
Source facts
- Women behold joyfully according EACH OWN taste/disposition.
- Princes appear as matchless embodied SHRINGARA beauty-love rasa, not merely ornamentation.
- Witness explicitly SORATHA241 while stable reader ID/type Doha242 retained.
- Supplied PDF237 places Soratha241 BEFORE cosmic-form passage starting below and continuing238; audit chronology claim conflicts visible witness sequence, retained as unresolved audit conflict.
Artistic choices
- PASS one head two connected arms two natural hands; own right chest own left covered lap; lower limbs covered/outcrop.
- PASS anonymous D241 RIGHT guest portrait lineage, coral veil pearls bindi no white earflower or headgarland. Not Sita/Ahalya/queen or authenticated same historical citywoman.
- Exact pose gaze venue architecture floral counts and headwear timing are artist choices; no source numerical ages. Other source participants outside selected crop not denied; no full crowd/feet/gear census. Style-only reference no fanning/reclining copied.
An imaginative interpretation, not a historical portrait or documentary evidence.
नारि बिलोकहिं हरषि हियँ निज निज रुचि अनुरूप। जनु सोहत सिंगार धरि मूरति परम अनूप।।241।।
The women gazed upon Him with joyful hearts, each beholding Him according to her own inner disposition. It was as though Beauty itself had put on ornaments and taken a form beyond all compare.