Shloka 120
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
मुनिरप्यद्रिराजानमपृच्छत्कुशलं तदा । नारद उवाच । अहो धर्मोचितस्तेऽस्ति संनिवेशो महागिरे
munirapyadrirājānamapṛcchatkuśalaṃ tadā | nārada uvāca | aho dharmocitaste'sti saṃniveśo mahāgire
ତେବେ ମୁନି ମଧ୍ୟ ପର୍ବତରାଜଙ୍କୁ କୁଶଳ ପଚାରିଲେ। ନାରଦ କହିଲେ—ଅହୋ ମହାଗିରେ! ତୁମର ନିବାସ-ବ୍ୟବସ୍ଥା ନିଶ୍ଚୟ ଧର୍ମୋଚିତ।
Nārada
Concept: Even a ‘settlement’ (saṃniveśa)—one’s place, posture, and way of being—can be dharma-aligned; sacredness is recognized through harmony, hospitality, and right order.
Application: Cultivate a home and routine that supports virtue: cleanliness, calm speech, hospitality to the wise, and spaces for japa/reading.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: mountain
Visual Art Cues: {"scene_description":"Nārada, veena in hand, stands at the foot of a majestic mountain-lord whose slopes resemble a serene, enthroned presence. The mountain’s caves open like contemplative eyes, with hermitages and small sacrificial fires visible, suggesting a settlement arranged in harmony with dharma.","primary_figures":["Nārada","Śailendra/Adrirāja (personified mountain spirit)","forest-dwelling sages (in background)"],"setting":"Mountain foothills with cave-mouth āśramas, small yajña-kuṇḍas, and clear streams descending in terraces.","lighting_mood":"golden dawn","color_palette":["saffron ochre","granite gray","pine green","lotus pink","gold leaf"],"tanjore_prompt":"Tanjore painting style: Nārada with ornate crown and veena offering respectful greeting to a personified mountain-king seated like a deity, gold leaf halo effects around Nārada and the mountain’s ‘face’, rich reds and greens, gem-studded ornaments, stylized cave-arches and miniature sages with tiny lamps and yajña fires.","pahari_prompt":"Pahari miniature style: lyrical Himalayan landscape with layered blue-gray ridges, delicate pine trees, Nārada in flowing saffron garments speaking gently to the mountain-lord suggested through anthropomorphic rock contours, refined facial features, small hermitages tucked into caves, thin white waterfalls.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Nārada front-facing with large expressive eyes and veena, the mountain rendered as a guardian figure with cave motifs, natural pigment palette of red/yellow/green, temple-wall aesthetic with decorative borders of lotus and vine.","pichwai_prompt":"Pichwai cloth painting style: devotional landscape where the mountain becomes a sacred mandala, lotus motifs and floral borders, peacocks near streams, Nārada as the central figure with veena, deep blues and gold accents, intricate patterns suggesting dharmic order in the ‘settlement’ of caves and hermitages."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["gentle tanpura drone","distant temple bells","mountain stream","morning birds"]}
Sandhi Resolution Notes: मुनिः अपि अद्रिराजानम् अपृच्छत् (sandhi resolved). तेऽस्ति = ते + अस्ति. महागिरे vocative addressing the mountain.
FAQs
It frames a “settlement/arrangement” (saṃniveśa) as something that can be dharma-ucita—aligned with moral and sacred order—suggesting that right living includes right organization of space and conduct within it.
“Adrirāja” is a common Purāṇic epithet for the Himālaya, personified as a great mountain-king and treated as a revered being in dialogue.
The implied lesson is that social or personal arrangements should be evaluated by their harmony with dharma—order, propriety, and righteousness—rather than by power or grandeur alone.