Shloka 22
The Description of Mandara (Mandaropavarṇanam) in the Mohinī Narrative
बभूव स्थावराणां हि स्पृहा तस्मिन्मुनीश्वराः । न च दैवं न चादैवं गीतं तादृग्बभूव ह ॥ २२ ॥
babhūva sthāvarāṇāṃ hi spṛhā tasminmunīśvarāḥ | na ca daivaṃ na cādaivaṃ gītaṃ tādṛgbabhūva ha || 22 ||
হে মুনীশ্বরগণ, সেই পবিত্র ঘটনার/স্থানের প্রতি স্থাবর সত্তাদের মধ্যেও আকাঙ্ক্ষা জাগল। এমন গান—না কেবল দৈব, না অদৈব—আগে কখনও শোনা যায়নি॥২২॥
Suta (narrator) [Uttara-Bhaga tirtha-mahatmya narration]
Vrata: none
Rasa: {"primary_rasa":"adbhuta","secondary_rasa":"bhakti","emotional_journey":"Begins with wonder at the sacred attraction felt even by immovable beings, culminating in awe at an unprecedented, liminal song beyond ordinary divine/non-divine categories."}
FAQs
It emphasizes the extraordinary potency of a sacred occurrence and its stuti (hymn): the sanctity is so intense that even ‘sthāvara’ beings are portrayed as developing spiritual yearning, highlighting the universal reach of dharma and sacred sound.
By centering on gīta (hymn/song) that transcends ordinary categories, the verse points to bhakti expressed as kīrtana/stuti—devotional sound that awakens longing (spṛhā) and draws all beings toward the holy.
Indirectly, it underscores the disciplined use of sacred sound—relevant to Śikṣā (phonetics) and Chandas (meter)—since the efficacy of gīta/stuti in Purāṇic practice depends on correct recitation and rhythmic structure.