Shloka 6
पुरा विप्राय तेनैव दत्तं गौरीचतुष्टयम् । कन्यकात्रितयं विप्र तेन तस्य पतिव्रता
purā viprāya tenaiva dattaṃ gaurīcatuṣṭayam | kanyakātritayaṃ vipra tena tasya pativratā
പണ്ടുകാലത്ത് അവൻ തന്നേ ആ ബ്രാഹ്മണനു നാലു ഗൗരവർണ്ണ കന്യകളെ ദാനമായി നൽകി. ഹേ വിപ്ര, അവൻ മൂന്നു പുത്രിമാരെയും നൽകി; അവൾ അവനോടു പതിവ്രതയായി നിലകൊണ്ടു.
Unspecified (context-dependent narration within Adhyaya 52)
Concept: Dāna and marital arrangements (kanyā-dāna/alliances) are portrayed as potent karmic acts; pativratā-dharma is praised as stabilizing household righteousness.
Application: Honor commitments, practice generosity responsibly, and cultivate fidelity and mutual dharma in relationships; see family life as a platform for sāttvika living and worship.
Primary Rasa: shringara
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A ceremonial courtyard is prepared for gifting: garlands, water pots, and sacred fire implements arranged neatly. A dignified donor gestures toward a group of veiled maidens and daughters being entrusted with blessings, while the receiving brāhmaṇa stands with calm gravity, hands folded in acceptance of dharmic responsibility.","primary_figures":["a donor figure (unnamed)","a brāhmaṇa recipient","four fair maidens (gaurī-catuṣṭaya)","three daughters"],"setting":"Vedic household courtyard with yajña-kuṇḍa, mango-leaf toranas, and ritual vessels; attendants holding lamps and flowers.","lighting_mood":"golden dawn","color_palette":["lotus pink","ivory white","vermillion","leaf green","warm gold"],"tanjore_prompt":"Tanjore painting style: auspicious dāna scene in a palace-courtyard, figures adorned with traditional jewelry, gold leaf highlighting ornaments and ritual vessels; rich red and green textiles, symmetrical composition with a small yajña fire at center, gem-studded borders and ornate arches framing the act of gifting.","pahari_prompt":"Pahari miniature style: intimate courtyard scene with delicate facial expressions, soft pastel garments, fine floral patterns; the maidens and daughters arranged gracefully, a small sacred fire and water pot rendered with meticulous detail; gentle Himalayan-like distant hills as stylized backdrop for lyrical calm.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat yet vibrant colors; donor and brāhmaṇa in formal poses, maidens in stylized attire; ritual objects emphasized with clear iconographic shapes; warm reds/yellows/greens dominating, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: celebratory domestic dharma tableau with ornate floral borders, lotus clusters and hanging garlands; central act of dāna under a decorative canopy; peacocks at corners and intricate textile patterns, using deep blues and gold accents to sanctify the household rite."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft mridangam","women’s ululation (faint)","fire crackle","temple bells"]}
Sandhi Resolution Notes: tena+eva → tenaiva; gaurī+catuṣṭayam → gaurīcatuṣṭayam; kanyakā+tritayam → kanyakātritayam.
FAQs
This single verse does not name the speaker; the identification depends on the surrounding verses in Adhyaya 52 (often a narrator continuing a dialogue).
It highlights social-religious ideals of dāna (bestowal/gifting) and the ideal of pativratā—steadfast commitment to one’s spouse—presented as a dharmic virtue.
Not directly; it reads more like genealogical/narrative material within the Sṛṣṭikhaṇḍa, focusing on social relations and dharmic characterization rather than explicit bhakti theology.