Shloka 67
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
विवाहार्थं महाराज उद्यमं कृतवान्नृप । पुनर्दत्ता तु दानेन दिव्यादेवी द्विजोत्तम
vivāhārthaṃ mahārāja udyamaṃ kṛtavānnṛpa | punardattā tu dānena divyādevī dvijottama
हे महाराज, विवाह के हेतु नरेश ने यत्न किया। और हे द्विजोत्तम, उस दिव्य देवी को दानरूप से फिर से प्रदान किया गया।
Unspecified narrator (context-dependent within Bhūmi-khaṇḍa dialogue)
Concept: Vivāha and dāna are dharmic acts, yet outcomes remain governed by daiva (destiny) and unseen karmic threads.
Application: Perform life-rites and generosity conscientiously, but hold results lightly; keep vows and ethics steady even when circumstances feel uncanny.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"A royal court prepares for a marriage alliance: ministers unfurl palm-leaf registers, priests arrange a small fire-altar, and a veiled ‘divine lady’ is ceremonially presented again as a formal gift. The atmosphere is auspicious yet edged with an unspoken omen, as if fate watches from behind the pillars.","primary_figures":["a crowned king","the ‘divyā devī’ (veiled noble bride)","court brāhmaṇa officiant","ministers"],"setting":"pillared palace sabhā with a small vivāha-maṇḍapa corner, ritual vessels, garlands, and conch-and-lamp attendants","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","saffron gold","deep maroon","ivory white","peacock green"],"tanjore_prompt":"Tanjore painting style: a South Indian palace sabhā with the king seated on a jewel-studded throne, the veiled divyā-devī presented with dāna-gesture by brāhmaṇas near a small agni-kuṇḍa; heavy gold leaf embellishment on crowns, archways, and jewelry; rich reds and greens, ornate borders, traditional iconographic symmetry, gem-like highlights.","pahari_prompt":"Pahari miniature style: an intimate court scene with delicate linework—king and ministers in consultation while a veiled bride stands near a modest fire-altar; cool yet festive palette, refined faces, patterned textiles, airy architectural arches, subtle omen conveyed through a distant dark cloud beyond the palace balcony.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the king, brāhmaṇa, and veiled divyā-devī arranged frontally; stylized lamps, lotus motifs, and ritual vessels; characteristic large eyes, red-yellow-green dominance, temple-wall aesthetic with ornamental creepers.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial pavilion framed by lotus borders and floral arabesques; attendants with lamps and conch; the bride and king rendered in devotional courtly manner; deep indigo background with gold detailing, peacocks at the margins, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","murmur of court","conch shell (distant)","crackle of ritual fire"]}
Sandhi Resolution Notes: विवाहार्थम् = विवाहार्थम् (समास); कृतवान्नृप = कृतवान् नृप; पुनर्दत्ता = पुनः दत्ता
FAQs
It states that a king made efforts to arrange a marriage, and that the divine lady was formally given again through an act of gifting (dāna).
“Punardattā” literally means “given again,” suggesting a repeated or reaffirmed bestowal—often a formal re-gifting or confirmation within a ritual or social process.
The verse highlights dharma expressed through proper initiative (udyama) in arranging marriage and the sanctity of gifting (dāna) as a socially and ritually significant act.