Shloka 66
The Glory of the Mother-and-Father Tīrtha
Within the Vena Episode
तावत्कालं हि मे लाभो ह्यतुलश्च प्रजायते । त्रिकालं पूजयाम्येतौ शुद्धभावेन चेतसा
tāvatkālaṃ hi me lābho hyatulaśca prajāyate | trikālaṃ pūjayāmyetau śuddhabhāvena cetasā
तावन्मात्रेण मे लाभोऽतुलोऽध्यात्मिको भवेत्। शुद्धभावेन मनसा त्रिकालेऽहं तयोः पूजनं करोमि॥
Unspecified (verse excerpt lacks explicit dialogue marker)
Concept: Regular worship performed with śuddha-bhāva yields incomparable spiritual profit; constancy (trikāla) is itself a purifier.
Application: Create a simple threefold daily rhythm—morning gratitude, midday mindful offering, evening reflection/prayer—keeping intention clean and consistent.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A triptych-like scene shows the same devotee worshiping at dawn, noon, and dusk—each panel subtly changing sky color while the heart remains steady. Two revered figures (or two sacred objects representing them) receive flowers and water as the devotee’s mind is depicted as luminous and clear.","primary_figures":["devotee","two revered recipients of worship (two gurus/elders or two sacred icons)"],"setting":"Simple courtyard shrine with a small lamp, water vessel, and flower garlands; three sky phases—pink dawn, bright noon, violet dusk—unified by the same altar.","lighting_mood":"golden dawn","color_palette":["dawn rose","sunlit white","turmeric yellow","twilight violet","lamp gold"],"tanjore_prompt":"Tanjore painting style: a three-panel composition of trikāla pūjā—dawn, noon, dusk—devotee offering flowers to two seated gurus/icons, heavy gold leaf for halos and lamp flames, rich crimson and emerald garments, ornate arch framing each time-of-day, jewel-like detailing on vessels and garlands.","pahari_prompt":"Pahari miniature style: lyrical triptych with delicate gradients of sky—soft pink dawn, pale blue noon, lavender dusk—devotee repeating the same offering to two revered figures, refined facial expressions of purity, minimalistic āśrama courtyard, gentle naturalism and quiet rhythm.","kerala_mural_prompt":"Kerala mural style: bold outlines and flat yet vibrant pigments—three time-bands across the top indicating dawn/noon/dusk, devotee in repeated posture offering at a small altar to two gurus/icons, stylized lamp and floral motifs, red-yellow-green dominance with black contouring.","pichwai_prompt":"Pichwai cloth painting style: ornate border of lotuses and creepers encircling a central altar; three circular medallions for trikāla worship, deep indigo ground with gold highlights, intricate floral patterning, devotional repetition emphasized like a daily festival."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["temple bells","flowing water","conch shell","evening crickets","silence"]}
Sandhi Resolution Notes: hyatulaśca = hi + atulaḥ + ca; pūjayāmyetau = pūjayāmi + etau (vowel sandhi). tāvatkālam analyzed as avyayībhāva compound used adverbially.
FAQs
Trikāla indicates worship performed three times daily—typically morning, midday, and evening—emphasizing regular, disciplined devotion.
It highlights that the inner intention and purity of heart are central; sincere devotion is presented as the cause of “incomparable gain,” not mere external ritual.
This excerpt does not identify them; the referents must be taken from the immediately preceding verses in Adhyaya 62 to determine which pair is intended.