Śuka’s Yoga-ascent, the Echo of ‘Bhoḥ’, and the Vaikuṇṭha Vision
दिव्यैर्हंसकुलैर्घुष्टाः स्वच्छांबुनिभृताः सदा । तत्र द्वाःस्थैश्चतुर्हस्तेनार्नाभरणभूषितैः ॥ ४५ ॥
divyairhaṃsakulairghuṣṭāḥ svacchāṃbunibhṛtāḥ sadā | tatra dvāḥsthaiścaturhastenārnābharaṇabhūṣitaiḥ || 45 ||
ਉਹ ਸਰੋਵਰ ਦਿਵ੍ਯ ਹੰਸ-ਕੁਲਾਂ ਦੀ ਕਲਰਵ ਨਾਲ ਗੂੰਜਦੇ ਅਤੇ ਸਦਾ ਸੁੱਚੇ ਜਲ ਨਾਲ ਭਰੇ ਰਹਿੰਦੇ ਹਨ। ਉੱਥੇ ਦਰਵਾਜ਼ੇ ਉੱਤੇ ਚਾਰ ਹੱਥਾਂ ਵਾਲੇ ਦ੍ਵਾਰਪਾਲ ਨਾਨਾ ਗਹਿਣਿਆਂ ਨਾਲ ਸੁਸ਼ੋਭਿਤ ਖੜੇ ਹਨ।
Narada
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
It uses sacred imagery—pure waters, swans, and divine guardians—to portray the purity and protected sanctity of the Lord’s realm, encouraging the seeker to aspire for inner clarity and God-realization (moksha).
By depicting the Lord’s abode as orderly, luminous, and guarded, it implies that devotion is a disciplined approach to the Divine—purifying the heart (svaccha) and steadily moving toward the Lord’s presence.
No specific Vedanga (like Vyakarana or Jyotisha) is taught directly; the practical takeaway is dharmic visualization and contemplative focus used in bhakti practice—purity, steadiness, and reverence for sacred space.
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