Shloka 56
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
स तां दृष्ट्वा दिवोदासो दिव्यां देवीं सुतां तदा । कस्मै प्रदीयते कन्या सुवराय महात्मने
sa tāṃ dṛṣṭvā divodāso divyāṃ devīṃ sutāṃ tadā | kasmai pradīyate kanyā suvarāya mahātmane
তেতিয়া দিবোদাসে নিজৰ দীপ্তিমান, দিব্য কন্যা ‘দিব্যা দেৱী’ক দেখি সুধিলে— “এই কন্যা কাক দিয়া হৈছে? মহাত্মা সুবৰক নেকি?”
Narrator (the text reports Divodāsa’s question)
Concept: Marriage decisions are dharmic acts requiring discernment of the groom’s worthiness (mahātman) and suitability; inquiry itself is portrayed as responsible dharma rather than mere social negotiation.
Application: Before major commitments, ask clear questions about values and character; treat commitments as sacred vows, not transactions.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: celestial_realm
Visual Art Cues: {"scene_description":"Divodāsa, struck by his daughter’s radiance, turns to his ministers and family priest, voicing a pointed question about her betrothal to Suvara, the great-souled. The maiden stands slightly behind a veil, calm and luminous, while the court pauses in suspense—an auspicious decision hanging in the air.","primary_figures":["Divodāsa","Divyādevī (the maiden)","Suvara (suggested as a distant or symbolic presence)","court priest","ministers"],"setting":"royal audience hall with carved pillars, hanging garlands, and a ceremonial fire-altar prepared for future rites","lighting_mood":"golden dawn","color_palette":["burnished gold","royal blue","vermilion","cream white","leaf green"],"tanjore_prompt":"Tanjore painting style: royal sabhā scene with Divodāsa gesturing in inquiry, daughter radiant with gold-leaf aura, priests and ministers attentive, ornate throne and pillars, embossed gold borders, gem-like detailing on crowns and jewelry, a small sacred fire-altar in the foreground.","pahari_prompt":"Pahari miniature style: courtly suspense rendered with delicate brushwork, refined expressions, the father’s questioning gesture, the maiden behind a translucent veil, soft architectural lines, balanced cool blues and warm vermilions, lyrical restraint.","kerala_mural_prompt":"Kerala mural style: dramatic profile poses with bold outlines, symmetrical court arrangement, saturated pigments, prominent hand-gesture (mudrā) of questioning, stylized flame of the altar, temple-wall narrative clarity.","pichwai_prompt":"Pichwai cloth painting style: narrative court register framed by ornate floral borders, lotus motifs around the maiden, deep indigo and gold highlights, peacocks perched on pillars, rhythmic repetition of attendants emphasizing the moment of inquiry."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["court drum (soft)","conch shell (distant)","temple bells","murmurs falling to silence","fire crackle"]}
Sandhi Resolution Notes: प्रदीयते = प्र + दीयते (दा-धातोः कर्मणि लट्); दिव्यां देवीं सुताम्—समनाधिकरण-विशेषण/विशेष्य.
FAQs
The verse narrates Divodāsa’s words; it is presented as a reported question asked by Divodāsa upon seeing the maiden.
It centers on a marriage-bestowal inquiry: Divodāsa, seeing a divine-looking daughter/maiden, asks to whom she is being given—specifically whether she is being given to Suvara.
The verse reflects the dharmic concern for proper marital alliance and clarity in giving a daughter in marriage (kanyā-dāna), emphasizing due inquiry and rightful intention in arranging such a union.