Previous Verse
Next Verse

Shloka 64

The Episode of Cyavana

Cyavana’s Hermitage and the Power of Tapas

दत्ता यदा नृपेणेयं कन्या कमललोचना । तदोत्पाताः शमं याताः सर्वे मुनिरुषोद्गताः

dattā yadā nṛpeṇeyaṃ kanyā kamalalocanā | tadotpātāḥ śamaṃ yātāḥ sarve muniruṣodgatāḥ

Cuando el rey entregó en matrimonio a esta doncella de ojos de loto, entonces todos los presagios funestos—nacidos de la ira de los sabios—se apaciguaron y cesaron.

दत्ताgiven
दत्ता:
Karma (कर्म/Object state)
TypeAdjective
Rootदा (धातु) + क्त (कृत्) → दत्त (कृदन्त-प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st), एकवचन; भूतकर्मणि कृदन्त (past passive participle)
यदाwhen
यदा:
Kala (काल/Time)
TypeIndeclinable
Rootयदा (अव्यय)
Formअव्यय; temporal conjunction ‘when’
नृपेणby the king
नृपेण:
Kartr̥ (कर्ता/Agent)
TypeNoun
Rootनृप (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (3rd/तृतीया), एकवचन; agent in passive sense
इयम्this (girl)
इयम्:
Karta (कर्ता/Subject)
TypeNoun
Rootइदम् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st), एकवचन
कन्याmaiden/daughter
कन्या:
Karta (कर्ता/Subject apposition)
TypeNoun
Rootकन्या (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st), एकवचन; apposition to इयम्
कमललोचनाlotus-eyed
कमललोचना:
Karta (कर्ता/Subject qualifier)
TypeAdjective
Rootकमल + लोचना (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st), एकवचन; बहुव्रीहि: कमलवत् लोचने यस्याः
तदाthen
तदा:
Kala (काल/Time)
TypeIndeclinable
Rootतदा (अव्यय)
Formअव्यय; ‘then’
उत्पाताःportents/omens
उत्पाताः:
Karta (कर्ता/Subject)
TypeNoun
Rootउत्पात (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन
शमम्calm/cessation
शमम्:
Karma (कर्म/Goal)
TypeNoun
Rootशम (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd), एकवचन; goal/state
याताःwent/attained
याताः:
Kriya (क्रिया/Predicate)
TypeVerb
Rootया (धातु) + क्त (कृत्) → यात (कृदन्त-प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन; भूतकृदन्त used as finite (periphrastic past): ‘went/attained’
सर्वेall
सर्वे:
Karta (कर्ता/Subject qualifier)
TypeAdjective
Rootसर्व (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन; qualifies उत्पाताः
मुनिरुषोद्गताःarisen from sages’ anger
मुनिरुषोद्गताः:
Karta (कर्ता/Subject qualifier)
TypeAdjective
Rootमुनि + रुच्/रुष्? + उद्गत (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन; compound used adjectivally for उत्पाताः; reading as मुनि-रुष-उद्गताः = ‘arisen from sages’ wrath (रुष् = anger)

Narrator (context not supplied to identify a specific dialogue speaker)

Concept: When dharma is satisfied—especially regarding honoring ascetic authority—cosmic disorder (utpāta) quiets; harmony returns through rightful action.

Application: Repair ruptured relationships and neglected duties promptly; sincere restitution can dissolve ‘bad omens’ in the form of anxiety, conflict, and instability.

Primary Rasa: shanta

Secondary Rasa: adbhuta

Visual Art Cues: {"scene_description":"As the maiden is formally given, the sky clears: ominous birds fall silent, harsh winds settle, and the atmosphere turns serene. The sages’ stern aura softens into composure, and the palace courtyard feels washed in quiet auspiciousness, as if an unseen knot has been untied.","primary_figures":["the lotus-eyed maiden","the king","assembled sages (formerly wrathful)","ritual priest"],"setting":"palace courtyard opening to the sky, ritual platform with water-pot and garlands, distant banners now still","lighting_mood":"golden dawn","color_palette":["pale gold","lotus pink","pearl white","smoky gray (fading)","emerald green"],"tanjore_prompt":"Tanjore painting style: the moment of omens dissolving—gold leaf sky brightening above a royal courtyard, sages with softened expressions, maiden with lotus eyes at center, ornate jewelry and textiles, auspicious symbols (kalasha, mango leaves), rich reds/greens with luminous gold.","pahari_prompt":"Pahari miniature style: a delicate sky transition from gray to clear blue, birds settling on branches, sages seated calmly, maiden in soft pink veil, refined faces and gentle gestures, lyrical naturalism with garden flora.","kerala_mural_prompt":"Kerala mural style: stylized clouds parting, sages in composed posture, maiden central with large expressive eyes, flat pigments and bold outlines, auspicious motifs around the ritual vessels.","pichwai_prompt":"Pichwai cloth painting style: auspicious calm framed by lotus and floral borders, peacocks now tranquil, deep blue background turning lighter near the center, gold highlights suggesting śānti, intricate textile ornamentation."}

Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["silence after storm","gentle temple bells","soft breeze","distant birds returning"]}

Sandhi Resolution Notes: नृपेणेयं = नृपेण + इयम्; तदोत्पाताः = तदा + उत्पाताः (orthographic assimilation); मुनिरुषोद्गताः treated as a compound (muneḥ roṣa/ruṣa-udgatāḥ).

K
king (nṛpa)
M
maiden/daughter (kanyā)
S
sages (muni)

FAQs

A king gives his lotus-eyed daughter/maiden (likely in marriage), and the ominous portents connected with sages’ anger become pacified.

They indicate disturbances or ill-omens in the realm, presented as consequences of moral/spiritual imbalance—specifically, the sages’ anger—until the proper action is taken.

That a ruler’s timely, rightful action (aligned with social and sacred expectations) can restore harmony, including relieving the fallout of offended sages or disrupted dharma.