Shloka 49
The Episode of Cyavana
Cyavana’s Hermitage and the Power of Tapas
कदाचिन्मनुरुद्युक्तस्तीर्थयात्रां प्रति प्रभुः । सकुटुंबो ययौ रेवां महाबलसमावृतः
kadācinmanurudyuktastīrthayātrāṃ prati prabhuḥ | sakuṭuṃbo yayau revāṃ mahābalasamāvṛtaḥ
ఒకసారి ప్రభువు మనువు తీర్థయాత్రకు సిద్ధమై, కుటుంబంతో కలిసి మహాబలంతో రేవా (నర్మదా) నదీ తీరానికి బయలుదేరాడు।
Narrator (within the Purāṇic dialogue context; specific speaker not identifiable from this single verse alone)
Concept: Pilgrimage undertaken with intent (udyukta) is a dharmic act; sacred geography becomes a means to awaken devotion and merit.
Application: Plan periodic ‘tīrtha-like’ resets—visits to temples, rivers, or retreats—with family/community, keeping a clear sankalpa and ethical conduct.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: river
Visual Art Cues: {"scene_description":"Manu, regal yet devout, departs with his family and attendants on a pilgrimage caravan, banners fluttering as they move toward the broad, sacred Revā. The river glints in the distance like a silver-blue ribbon, while sages and soldiers alike carry offerings, water pots, and parasols—strength harnessed for dharma.","primary_figures":["Manu","Manu’s family (queen/consort, children)","attendants and guards","pilgrim Brahmins"],"setting":"riverward road through wooded foothills, distant ghāṭa steps, carts with offerings, conch and flag standards","lighting_mood":"golden dawn","color_palette":["river-silver","sapphire blue","sunrise gold","vermillion","leaf green"],"tanjore_prompt":"Tanjore painting style: Manu as a crowned dharmic king with Vaishnava tilaka, family beside him, procession moving toward a stylized Narmadā with gold-leaf ripples, ornate parasols and jewelry, rich reds and greens, temple-arch frame, embossed gold detailing on banners and river highlights.","pahari_prompt":"Pahari miniature style: a lyrical procession along a winding path, soft hills and trees, Manu and family in delicate garments, the Revā visible as a cool blue band, refined faces, subtle shading, small details like water pots and flower baskets, calm narrative clarity.","kerala_mural_prompt":"Kerala mural style: bold outlines, Manu in royal attire with simplified yet iconic forms, attendants in rhythmic rows, the river as a broad blue-green stripe with white wave motifs, warm yellow-red background, decorative borders reminiscent of temple murals.","pichwai_prompt":"Pichwai cloth painting style: pilgrimage procession arranged symmetrically, the Revā as a central horizontal band with lotus motifs, ornate floral borders, deep blues and gold, peacocks and cows as auspicious fillers, devotional atmosphere emphasizing sacred travel."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["footsteps and cart wheels","distant conch shell","river breeze","temple bells at ghāṭa"]}
Sandhi Resolution Notes: कदाचित्+मनुः→कदाचिन्मनुः; मनुः+उद्युक्तः→मनुरुद्युक्तः; उद्युक्तः+तीर्थयात्राम्→उद्युक्तस्तीर्थयात्राम्; सकुटुम्बः (स+कुटुम्बः); महाबलसमावृतः = महाबलेन समावृतः (समास)
FAQs
Revā refers to the Narmadā River, a major sacred river and pilgrimage destination (tīrtha) frequently praised in Purāṇic literature.
It presents pilgrimage as a deliberate dharmic undertaking—performed with resolve (udyukta) and often involving one’s household and retinue, reflecting social and royal participation in sacred travel.
The verse frames sacred duty as integrated with household life: spiritual practice is not limited to renunciants but can be pursued responsibly within family and societal roles.