Shloka 54
The Bhīma-Dvādaśī
Kalyāṇinī) Vow and the Anangadāna-Vrata (with a Courtesan-Conduct Discourse
एवं क्षपातिवाह्या वै गीतमङ्गलनिःस्वनैः । उपाध्यायस्य च पुनर्द्विगुणं सर्वमेव तु
evaṃ kṣapātivāhyā vai gītamaṅgalaniḥsvanaiḥ | upādhyāyasya ca punardviguṇaṃ sarvameva tu
So, wahrlich, für den, der in der Nacht getragen wird inmitten des widerhallenden Klangs glückverheißender Gesänge; und für den Lehrer (Upādhyāya) soll zudem alles verdoppelt werden.
Unclear from single-verse context (likely within a Pulastya–Bhīṣma discourse in Sṛṣṭikhaṇḍa).
Concept: Auspicious communal praise and honoring the teacher magnify the merit of gifts; the guru/upādhyāya is to be honored with doubled offerings.
Application: Treat mentors with tangible gratitude; support teachers and elders beyond minimum obligation, especially when they guide your spiritual practice.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A night procession moves slowly through a courtyard: a revered figure is carried on a palanquin while singers and musicians surround him, their maṅgala-gīta rising in waves. Oil lamps and torches cast warm halos, and at the end of the route the upādhyāya sits on a raised seat as attendants prepare doubled gifts.","primary_figures":["palanquin-borne honored person (recipient of rite)","singers and musicians","upādhyāya (preceptor)","donor and attendants"],"setting":"Village-temple courtyard with a circumambulatory path, lamp stands, banners, and a small dais for the teacher.","lighting_mood":"moonlit","color_palette":["lamp-flame amber","midnight blue","silver white","deep maroon","brass gold"],"tanjore_prompt":"Tanjore painting style: nocturnal palanquin procession with maṅgala singers, torches, and ornate lamp stands; the upādhyāya on a decorated seat receiving doubled offerings; heavy gold leaf on lamps, jewelry, and palanquin carvings, rich reds and blues, intricate borders.","pahari_prompt":"Pahari miniature style: moonlit courtyard procession with delicate torchlight gradients, musicians in a flowing line, palanquin details finely rendered; the teacher seated calmly on a small platform, cool blues and silvers with warm lamp accents.","kerala_mural_prompt":"Kerala mural style: bold outlines of a rhythmic procession, stylized instruments (mṛdaṅga, tāla), large expressive eyes, strong red/yellow/green blocks; moon and lamp motifs repeated, the upādhyāya centered with symmetrical attendants.","pichwai_prompt":"Pichwai cloth painting style: a devotional night kīrtan procession framed by lotus and floral borders; lamp motifs like stars, deep indigo cloth ground with gold highlights; central dais with the guru figure, attendants offering doubled gifts, peacocks perched on border vines."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["maṅgala songs","hand cymbals","mṛdaṅga drum","conch shell","night insects"]}
Sandhi Resolution Notes: पुनर्द्विगुणम् = पुनः + द्विगुणम्; सर्वमेव = सर्वम् + एव. क्षपातिवाह्याः treated as तत्पुरुष compound ‘क्षपातौ वाह्याः’.
FAQs
It states that in a certain auspicious ritual context (described as being borne through the night with auspicious singing), the prescribed result or offering is doubled in the case of the upādhyāya (preceptor).
The verse reflects a Purāṇic ethical-religious principle: honoring the teacher is exceptionally meritorious, so the relevant religious benefit/measure is increased for the preceptor.
Indirectly. While it is framed as a ritual/merit rule, it reinforces reverence (guru-bhāva) and auspicious devotional practice (maṅgala-gīta), which support a broader devotional culture.