Shloka 23
The Greatness of Worshiping Rādhā and Dāmodara
Kārttika Observances and Their Fruit
सूत उवाच । ननाम चरणे तस्य गतान्यनगरं प्रति । तत्र प्रविष्टा सा योषिद्दृष्ट्वा पुण्यजनान्बहून्
sūta uvāca | nanāma caraṇe tasya gatānyanagaraṃ prati | tatra praviṣṭā sā yoṣiddṛṣṭvā puṇyajanānbahūn
Sūta berkata: Dia menunduk menyembah di kaki beliau, lalu berangkat menuju sebuah kota lain. Setelah masuk ke sana, wanita itu melihat ramai orang yang berbuat kebajikan dan berakhlak suci.
Sūta
Concept: Humility (praṇāma) and seeking the company of the virtuous opens the path to merit and right practice.
Application: Begin undertakings with respectful salutations; intentionally seek uplifting communities and teachers rather than isolating practice.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A modest woman, head bowed, touches the feet of a revered figure at the edge of a city gate, then walks toward a bustling sacred quarter. Inside, she beholds groups of serene, clean-clad virtuous people—some with tilaka and mālā—moving with purposeful calm as if drawn to a ritual at dawn.","primary_figures":["humble woman seeker","revered elder/teacher figure","groups of virtuous devotees (puṇyajana)"],"setting":"ancient Indian city approach—arched gateway, dusty road turning into a temple-lined street with pilgrims and mendicants","lighting_mood":"golden dawn","color_palette":["warm ochre","sandalwood beige","indigo shadow","tulasi green","soft vermilion"],"tanjore_prompt":"Tanjore painting style: a humble woman offering praṇāma at the feet of a venerable teacher near a city gateway, then a vista of devotees with Vaiṣṇava tilaka; gold leaf embellishment on halos, temple gopura details, and ornaments; rich reds, deep greens, and burnished gold, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a lyrical city entrance with delicate linework; the woman in modest attire bowing to an elder, then gazing at serene devotees; cool morning palette, refined faces, soft hills in the distance, subtle architectural motifs and flowering trees framing the path.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; the act of praṇāma emphasized with expressive eyes and stylized hands; temple street with lamps and pillars; dominant reds/yellows/greens, rhythmic composition like a wall fresco.","pichwai_prompt":"Pichwai cloth painting style: devotional street scene leading toward a shrine; ornate floral borders and lotus motifs; groups of devotees with garlands; deep blue background accents with gold highlights, peacocks perched on parapets, temple banners fluttering."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft footsteps","distant temple bells","morning birds","city gate murmur"]}
Sandhi Resolution Notes: सूत उवाच → सूतः उवाच. गतान्यनगरं → गता अन्यनगरम्. योषिद्दृष्ट्वा → योषित् दृष्ट्वा (t→d before d). पुण्यजनान्बहून् → पुण्यजनान् बहून् (n→nb before b).
FAQs
It does not name a specific tīrtha, but it uses travel-to-another-city as a narrative marker often used in Purāṇic pilgrimage and moral storytelling contexts.
The act of bowing at someone’s feet highlights humility and reverence—core devotional attitudes—even though the verse itself remains primarily narrative.
It foregrounds respect (paying homage) and the value of seeking the company of the virtuous (puṇyajana), implying moral uplift through association.