Shloka 167
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
उत्तानहस्तता प्रोक्ता याचतामेव नित्यका । शुभोदयानां धन्यानां न कदाचित्प्रयच्छताम्
uttānahastatā proktā yācatāmeva nityakā | śubhodayānāṃ dhanyānāṃ na kadācitprayacchatām
«إن “اليد الممدودة” تُقال إنها حالٌ دائمةٌ للمتسوّلين؛ أمّا السعداء ذوو النهوض المبارك، فلا يكون لهم قطّ “عطاءٌ” يذهب بكرامتهم وكفايتهم.»
Unspecified (context not provided for the dialogue frame in this single-verse input)
Concept: Habitual supplication (‘hands held out’) characterizes dependence; the truly blessed are marked by śubhodaya—an auspicious rise—implying inner sufficiency and dignified conduct.
Application: Avoid cultivating a mindset of constant want; build skills, discipline, and devotion so that you can give rather than beg—materially, emotionally, spiritually.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"Two contrasting figures appear: one with palms outstretched in perpetual pleading, shoulders bent; the other stands upright, serene, with a gentle hand extended in giving, surrounded by subtle signs of auspiciousness. The sage’s words hover like an invisible scale balancing dependence against dignified abundance.","primary_figures":["sage narrator (off to one side)","a beggar with outstretched hands","a fortunate householder/devotee offering alms"],"setting":"edge of an āśrama path where travelers pass; a small shrine in the background suggesting dharma as the axis","lighting_mood":"golden dawn","color_palette":["muted clay brown","sunrise gold","deep teal","ivory white","maroon"],"tanjore_prompt":"Tanjore painting style: split composition—left a supplicant with open palms, right a dignified donor with gold-leaf aura; ornate shrine behind; rich reds and greens, gold leaf on halos and borders, jewel-like detailing on vessels of charity.","pahari_prompt":"Pahari miniature style: gentle moral tableau on a forest path, delicate expressions showing humility vs serene confidence; soft dawn sky, cool greens, refined linework, lyrical realism.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic gestures—open palms of begging contrasted with open palm of giving; warm earthy pigments, temple-wall symmetry, expressive eyes conveying dharma.","pichwai_prompt":"Pichwai cloth painting style: central donor figure framed by lotus vines and auspicious motifs; small vignettes of supplication at the margins; deep blue ground with gold floral borders, devotional ambience."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura","distant temple bell","morning birds","gentle footfalls on forest path"]}
Sandhi Resolution Notes: yācatāmeva = yācatām eva; kadācitprayacchatām = kadācit prayacchatām.
FAQs
Not necessarily. It contrasts habitual begging with the blessed state of auspicious prosperity; it can be read as valuing self-reliance and dignity rather than condemning dāna (charitable giving) itself.
The verse highlights the degradation of constant dependence (begging) and upholds the ideal of a fortunate life marked by stability, dignity, and auspicious uplift.
Literally it means “of those who give/grant.” In this construction it can also imply “giving oneself away” (loss of standing), suggesting that the truly blessed do not fall into that condition.