Shloka 22
The Horse’s Journey
to Cyavana’s Hermitage
चक्रे चावभृथस्नानं यागांते शत्रुतापनः । त्वया पृष्टं यदाचक्ष्व च्यवनस्य महोदयम्
cakre cāvabhṛthasnānaṃ yāgāṃte śatrutāpanaḥ | tvayā pṛṣṭaṃ yadācakṣva cyavanasya mahodayam
यागान्ते शत्रुतापनश्चक्रे चावभृथस्नानम्। त्वया पृष्टं यदाचक्ष्व च्यवनस्य महोदयम्॥
Unspecified in the provided excerpt (context-dependent dialogue narrator)
Concept: Ritual completion (yajña-anta) is sanctified by avabhṛtha-snāna, and inquiry (praśna) becomes the doorway to transmitting sacred history (māhātmya).
Application: Finish spiritual commitments with a conscious ‘closing rite’—a bath, prayer, or gratitude—then seek/offer satsanga by asking for and sharing elevating stories.
Primary Rasa: adbhuta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"At the edge of a sacred river, the ‘enemy-scorcher’ stands at the close of a grand sacrifice, water streaming from his hair as priests hold ladles and darbha. Behind him, the extinguishing of the last altar-flames and the quieting of drums signal completion, while a sage leans forward, ready to narrate Cyavana’s wondrous rise.","primary_figures":["a royal sacrificer (kṣatriya yajamāna)","Vedic priests (ṛtviks)","a narrating sage (kathaka/ṛṣi)"],"setting":"riverbank beside a yajña-śālā with altars, darbha bundles, and ritual vessels; distant hermitage trees","lighting_mood":"golden dawn","color_palette":["saffron","river-silver","smoke-gray","vermillion","leaf-green"],"tanjore_prompt":"Tanjore painting style: a royal yajamāna performing avabhṛtha-snāna at a riverbank beside a richly ornamented yajña-śālā, priests with darbha and golden vessels, subtle Vishnu symbols on banners, gold leaf embellishment on crowns and ritual pots, rich reds and greens, gem-studded ornaments, traditional South Indian iconography and symmetrical composition.","pahari_prompt":"Pahari miniature style: delicate riverbank avabhṛtha scene with fine-line priests and a kṣatriya king, soft mist over water, slender trees and a distant āśrama, cool yet luminous palette, refined faces, lyrical naturalism, small details of darbha and ritual ladles.","kerala_mural_prompt":"Kerala mural style: bold black outlines of the yajamāna and ṛtviks at the river, stylized waves, temple-wall aesthetic, large expressive eyes, natural pigment reds/yellows/greens, ritual vessels highlighted, sacred calm after yajña completion.","pichwai_prompt":"Pichwai cloth painting style: riverbank ritual framed by lotus borders and floral vines, attendants holding kalashas, peacocks near the water, deep blues and gold accents, intricate textile-like patterning; subtle Vaishnava motifs (conch/discus) woven into the border."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","temple bells","soft conch shell","fading drumbeats","ritual murmurs"]}
Sandhi Resolution Notes: ca + avabhṛthasnānaṃ → cāvabhṛthasnānaṃ; yāga-ante written yāgāṃte (ā + a → ā; anusvāra orthography).
FAQs
Avabhṛtha-snāna is the concluding ceremonial bath taken after the completion of a yajña (sacrifice), marking its formal completion and purification.
Cyavana is a renowned Vedic sage (ṛṣi). The phrase implies narrating his “great rise/glory”—an account of his remarkable achievement, prosperity, or spiritual eminence.
It highlights ritual completeness and inner/outer purification—finishing sacred duties properly and transitioning from rite to renewed, disciplined life.