Shloka 23
Origin of Jaleśvara Tīrtha and the Devas’ Appeal to Śiva against Bāṇa/Tripura
Nārada’s Mission
बाण उवाच । स देवर्षिः स्वयं प्राप्तो मद्गृहं प्रति संप्रति । अर्घं पाद्यं यथान्यायं क्रियतां द्विजसत्तम
bāṇa uvāca | sa devarṣiḥ svayaṃ prāpto madgṛhaṃ prati saṃprati | arghaṃ pādyaṃ yathānyāyaṃ kriyatāṃ dvijasattama
Bāṇa berkata: “Resi dewa itu kini datang sendiri ke rumahku. Wahai brāhmaṇa yang paling utama, persembahkanlah menurut adat arghya dan pādya—air sambutan dan air membasuh kaki—sebagaimana sewajarnya.”
Bāṇa
Concept: Atithi-satkāra (honoring a visiting sage) is itself a sacred rite; correct upacāras align household life with yajña-spirit.
Application: Receive guests with respect; offer water/seat/food according to capacity; treat elders/teachers as sacred presences.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A noble household threshold is transformed into a sanctified reception: a radiant devarṣi arrives, and the host urgently instructs the chief brāhmaṇa to prepare arghya and pādya. Brass vessels gleam, kusa grass and flowers are arranged, and the air feels charged with mantra-ready stillness.","primary_figures":["Bāṇa","Devarṣi Nārada","household brāhmaṇa attendant"],"setting":"Courtyard of a well-kept home with a small altar space, water pots, flower trays, and a welcoming doorway garlanded with mango leaves.","lighting_mood":"temple lamp-lit","color_palette":["warm sandalwood beige","lamp-flame amber","emerald green","vermillion red","antique gold"],"tanjore_prompt":"Tanjore painting style: Bāṇa in regal attire gestures toward ritual vessels as Nārada stands at the doorway with vīṇā; gold leaf halos, rich reds/greens, ornate jewelry, carved wooden pillars, arghya-pātra and pādya-kalaśa highlighted with gem-like detailing.","pahari_prompt":"Pahari miniature style: intimate courtyard scene with delicate linework; Nārada’s serene face and vīṇā, soft pastel architecture, flowering creepers, attendants holding water vessels; lyrical naturalism and refined expressions.","kerala_mural_prompt":"Kerala mural style: bold outlines and flat natural pigments; Nārada with large expressive eyes and vīṇā, Bāṇa directing attendants; stylized lotus borders, warm red/yellow/green palette, mural-like symmetry.","pichwai_prompt":"Pichwai cloth painting style: devotional hospitality tableau framed by lotus and floral borders; peacocks near the threshold, hanging garlands, deep blue accents around Nārada’s aura, intricate patterns on vessels, gold highlights for sanctity."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft temple bells","water poured into brass vessel","courtyard birds","gentle vīṇā drone","conch shell (distant)"]}
Sandhi Resolution Notes: मद्गृहं = मत् + गृहम्; यथान्यायं = यथा + न्यायम् (अव्ययीभाव).
FAQs
Arghya and pādya are standard honors for a respected guest, expressing reverence and dharmic hospitality—welcoming the visitor and ritually acknowledging their sanctity.
The speaker is Bāṇa. He instructs a brāhmaṇa (addressed as dvijasattama) to perform the customary guest-offerings because a devarṣi has arrived at his home.
It emphasizes atithi-satkara (honoring guests), especially holy visitors, as a practical expression of dharma—doing what is proper “according to rule” rather than neglecting social and ritual duties.