Shloka 11
Narmadā
Revā) Tīrtha Greatness: The Gandharva Maidens’ Curse Narrative (Acchodā Episode Begins
सुतारा चंद्रकांतस्य चंद्रिका सुप्रभस्य च । इमानि वरनामानि तासामप्सरसां नृप
sutārā caṃdrakāṃtasya caṃdrikā suprabhasya ca | imāni varanāmāni tāsāmapsarasāṃ nṛpa
चन्द्रकान्तस्य सुतारा, सुप्रभस्य च चन्द्रिका। एतानि वरनामानि तासामप्सरसां नृप॥
Unspecified narrator addressing a king (nṛpa) within the chapter’s dialogue context
Concept: Even celestial splendor is presented as a named, ordered domain—suggesting that svarga is structured and finite, not the final goal.
Application: Appreciate beauty and success without mistaking them for ultimate fulfillment; aim actions toward enduring spiritual goals.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: celestial_realm
Visual Art Cues: {"scene_description":"In Indra’s jeweled sabhā, a sage-narrator recites the chosen names of apsarases to a listening king. Two radiant couples—Sutārā with Candrakānta, and Candrikā with Suprabha—stand amid pearl-white clouds, their ornaments catching moonlike gleams as attendants hold lotus fans.","primary_figures":["Indra (optional, enthroned)","Candrakānta","Sutārā","Suprabha","Candrikā","narrator-sage","listening king (nṛpa)"],"setting":"Celestial court with crystal pillars, lotus pools suspended in clouds, gandharvas in the background holding vīṇās","lighting_mood":"divine radiance","color_palette":["moonstone white","silver blue","pearl gray","saffron gold","lotus pink"],"tanjore_prompt":"Tanjore painting style: Indra’s celestial sabhā with crystal pillars and a lotus-throne, the narrator-sage gesturing as he names Sutārā with Candrakānta and Candrikā with Suprabha; heavy gold leaf halos, rich vermilion and emerald textiles, gem-studded crowns, pearl garlands, ornate arch motifs, symmetrical composition, devotional sheen despite courtly theme.","pahari_prompt":"Pahari miniature style: airy devaloka terrace above clouds, delicate figures of Sutārā-Candrakānta and Candrikā-Suprabha standing near a small lotus pool; cool silvers and pale blues, fine linework jewelry, lyrical spacing, a seated king listening to a sage, distant gandharvas with vīṇā, soft moon-glow wash.","kerala_mural_prompt":"Kerala mural style: bold outlined celestial assembly, apsarases with stylized eyes and elaborate hair, Indra’s court framed like a temple wall panel; natural pigment palette with dominant reds/yellows/greens, decorative borders of lotuses and clouds, strong frontal poses and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: a moonlit lotus-lake in svarga with white kumuda lotuses, apsarases named in the verse arranged in a circular floral border; deep indigo background with gold highlights, intricate lotus and vine motifs, peacocks at the margins, ornamental text-cartouche space for the names."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft vīṇā drone","anklet bells","distant conch","gentle court murmurs"]}
Sandhi Resolution Notes: तासामप्सरसां → तासाम् अप्सरसाम्.
FAQs
They are named Apsarases (celestial nymphs) being identified in a list; the verse pairs them with Candrakānta and Suprabha respectively.
It functions as a catalog-style line, recording specific proper names associated with Apsarases and addressing the listener as “O king.”
Not explicitly; this verse is primarily nominative (a name-listing passage). Any broader teaching would come from the surrounding narrative context of the chapter.