Shloka 92
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
यौतकं दीयते किंचित्तत्सर्वं चाक्षयं भवेत् । दाता न स्मरते दानं प्रतिग्राही न याचते
yautakaṃ dīyate kiṃcittatsarvaṃ cākṣayaṃ bhavet | dātā na smarate dānaṃ pratigrāhī na yācate
مهما كان يسيرًا ما يُعطى كياوتَكا، فإنه كلَّه يصير غيرَ فانٍ (أجرًا لا ينقطع). المُعطي لا يظلّ يذكر عطاءه، والمتلقّي لا يتسوّل طلبه.
Unspecified (narratorial/teaching voice within Sṛṣṭikhaṇḍa context)
Concept: Even small marriage gifts yield akṣaya merit when given without fixation and received without solicitation; non-attachment preserves purity on both sides.
Application: Give quietly and move on; receive with gratitude but never demand; keep family rituals free from pressure, comparison, and status anxiety.
Primary Rasa: shanta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A calm post-ritual moment after the wedding: the giver turns away peacefully, hands empty and heart light, while the recipient stands with folded hands, accepting without entitlement. Above them, a soft, invisible ‘akṣaya’ aura drifts like incense smoke, suggesting merit that grows precisely because neither side clings.","primary_figures":["giver (dātā)","recipient (pratigrahī)","newlywed couple (subtle, background)","Agni (fading embers, symbolic)"],"setting":"quiet wedding pavilion after the main rites, with garlands and embers settling","lighting_mood":"soft twilight lamp-lit","color_palette":["soft amber","smoke gray","lotus rose","deep teal","muted gold"],"tanjore_prompt":"Tanjore painting style: serene closing scene of a wedding pavilion with gold-leaf highlights on lamps and ornaments; the giver depicted turning away in dignified detachment, the recipient in humble añjali; delicate gold script-like motif for ‘akṣaya’ in the background; rich reds/greens subdued into a calm palette.","pahari_prompt":"Pahari miniature style: intimate, quiet composition with gentle twilight tones; subtle facial expressions showing contentment and restraint; fine detailing of garlands and fading embers; lyrical negative space to convey non-attachment.","kerala_mural_prompt":"Kerala mural style: bold outlines with softened colors; two central figures in iconic gestures—one releasing, one receiving without asking; decorative border motifs of lamps and flowers; temple-wall calmness.","pichwai_prompt":"Pichwai cloth painting style: closing-ritual tableau framed by floral borders and small lamp motifs; deep blue-teal ground with gold accents; lotus patterns suggesting purity; the couple and kin rendered as harmonious silhouettes emphasizing etiquette and restraint."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["fading temple bells","soft footfalls","incense crackle","long silence at cadence"]}
Sandhi Resolution Notes: किंचित्तत्सर्वं = किंचित् + तत् + सर्वम्; चाक्षयं = च + अक्षयम्
FAQs
It praises giving that is free from attachment or self-advertisement: the giver does not keep recalling the act as a claim to status, and the receiver is not placed in a humiliating position of asking.
Akṣaya means “imperishable” or “inexhaustible,” indicating that the spiritual merit (puṇya) from such a gift is enduring rather than quickly exhausted.
No. This shloka is primarily an ethical teaching about the manner and spirit of giving and receiving, not a description of places or pilgrimage sites.