Shloka 19
Adhyaya 64 — Kalavati (Vibhavari) Offers Herself and the Padmini Vidya to Svarocisha
जग्राह च ततः पाणी स तयोऽमरद्युतिः ।
नदत्सु देवतूर्येषु नृत्यन्तीष्वप्सरः सु च ॥
jagrāha ca tataḥ pāṇī sa tayor amaradyutiḥ / nadatsu devatūryeṣu nṛtyantīṣv apsaraḥsu ca
அப்போது அந்த ஒளிமிகு தெய்வீகப் புருஷன் திருமண முறையின்படி அவர்களின் கரங்களைப் பற்றினார்; தெய்வீக வாத்தியங்கள் முழங்கின, அப்சரஸ்கள் நடனம் செய்தனர்।
FAQs
Ritual publicness (music, witnesses) functions as dharmic validation; private desire is integrated into social-cosmic order through rite.
Manvantara narrative: depicts dharma-in-action within a time-cycle, rather than sarga/pratisarga.
The ‘resounding instruments’ and ‘dancing apsarases’ encode the idea that when order is established, the subtle worlds ‘resonate’—harmony is both social and cosmic.