Shloka 62
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
ब्राह्मणा ऊचुः । विवाहो दृश्यते राजन्कन्यायास्तु विधानतः । पतिर्मृत्युं प्रयात्यस्या नोचेत्संगं करोति च
brāhmaṇā ūcuḥ | vivāho dṛśyate rājankanyāyāstu vidhānataḥ | patirmṛtyuṃ prayātyasyā nocetsaṃgaṃ karoti ca
ພວກພຣາຫມັນກ່າວວ່າ: “ໂອ ພຣະຣາຊາ, ຕາມວິທີກຳນົດ ການແຕ່ງງານຂອງນາງສາວແມ່ນຖືກບັນຍັດໄວ້ແນ່ນອນ. ຖ້າບໍ່ເຊັ່ນນັ້ນ ຖ້າຜົວບໍ່ບັນລຸການຮ່ວມສັງຄົມກັບນາງ ຜົວຈະປະສົບຄວາມຕາຍ”
Brāhmaṇas
Concept: Gṛhastha-dharma requires marriage to be performed according to vidhi; neglect of prescribed union is portrayed as bringing grave inauspicious consequence.
Application: Treat life-stage duties as sacred responsibilities; seek counsel of learned elders/ācāryas for rites and ethical decisions, and avoid impulsive or clandestine arrangements that harm others.
Primary Rasa: dharma
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"In a royal sabhā, solemn brāhmaṇas stand before the king, palms joined, delivering a weighty injunction about a maiden’s marriage. The atmosphere is tense yet orderly—scrolls of dharmaśāstra and ritual vessels nearby—suggesting that cosmic order hinges on correct rite and timing.","primary_figures":["Divodāsa (king)","brāhmaṇas (counselors)","unmarried maiden (symbolic presence, veiled)"],"setting":"royal court with a side-altar for saṁskāra rites; dharmaśāstra manuscripts, kuśa grass, water pot, and sacred fire implements","lighting_mood":"temple lamp-lit","color_palette":["saffron ochre","deep maroon","burnished gold","ivory white","smoky charcoal"],"tanjore_prompt":"Tanjore painting style: Divodāsa seated on a carved throne in a palace sabhā, brāhmaṇas in white with sacred threads addressing him, a small ritual altar with kalasha and agni implements at the side; heavy gold leaf embellishment on throne, jewelry, and halo-like aureoles; rich reds and greens, gem-studded ornaments, crisp South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a refined court scene with delicate linework—king listening intently to austere brāhmaṇas; soft architectural arches, patterned carpets, and a discreet ritual corner with kuśa and manuscripts; cool yet warm-balanced palette, lyrical facial expressions, gentle shading, and a hint of distant hills beyond palace windows.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments—king and brāhmaṇas in frontal/three-quarter poses, expressive eyes, stylized palace pillars, ritual vessels and palm-leaf manuscripts; dominant reds, yellows, greens with controlled ornamentation, temple-wall aesthetic gravitas.","pichwai_prompt":"Pichwai cloth painting style: a dharma-sabhā framed by ornate floral borders and lotus motifs; the king and brāhmaṇas rendered with decorative textiles, peacocks at the margins, and a small sacred fire altar; deep indigo background with gold detailing, intricate patterns emphasizing ritual order."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","low court murmurs","conch shell (distant)","ritual fire crackle"]}
Sandhi Resolution Notes: राजन्कन्यायास्तु = राजन् + कन्यायाः + तु; पतिर्मृत्युम् = पतिः + मृत्युम्; प्रयात्यस्या = प्रयाति + अस्याः; नोचेत्संगं = न + उ + चेत् + सङ्गम् (orthographic sandhi: न + उ → नो; चेत् + सङ्गम् → चेत्सङ्गम्).
FAQs
The speakers are brāhmaṇas addressing a king (“rājan”), presenting a dharma-based statement about marriage rules.
It asserts that a maiden’s marriage is prescribed by injunction, and it frames non-consummation/avoidance of conjugal union as leading to severe inauspicious consequence (expressed here as the husband’s death).
Not directly; it functions primarily as a dharma/social-duty statement within the Bhūmi-khaṇḍa context rather than a devotional (bhakti) or metaphysical teaching.