Shloka 77
गत्वा तत्रैव ताः कन्या समीपं ब्रह्मचारिणः । सव्यापसव्यबंधेन भुजपाशं च चक्रिरे
gatvā tatraiva tāḥ kanyā samīpaṃ brahmacāriṇaḥ | savyāpasavyabaṃdhena bhujapāśaṃ ca cakrire
అక్కడికక్కడే ఆ కన్యలు బ్రహ్మచారి సమీపానికి వెళ్లి, ఎడమ-కుడి వైపుల నుంచి చుట్టుముట్టి బంధించి, భుజపాశాన్ని ఏర్పరచారు।
Narrator (context not provided for precise dialogue attribution)
Concept: Dharma is measured not by place alone but by behavior; even at a tīrtha, actions driven by uncontrolled desire create bondage (pāśa) rather than liberation.
Application: Treat sacred spaces and relationships with consent and restraint; do not let group impulse override discernment and ethics.
Primary Rasa: shringara
Secondary Rasa: raudra
Type: tirtha
Visual Art Cues: {"scene_description":"On the lotus-lined bank, the maidens close in from both sides, their arms forming a living noose around the smiling-yet-caught brahmacārin. The composition feels like a garland turning into a snare: bangles flash, silk swirls, and the calm lake behind them reflects the sudden tension of the moment.","primary_figures":["maidens (kanyāḥ)","brahmacārin brāhmaṇa"],"setting":"lakeshore near bathing steps, lotus beds close to the bank, reeds and flowering vines","lighting_mood":"forest dappled","color_palette":["deep teal","lotus magenta","antique gold","ivory","leaf green"],"tanjore_prompt":"Tanjore painting style: dynamic encirclement scene with maidens forming an arm-noose around the brahmacārin, gold leaf on ornaments and bangles, rich jewel-toned silks, stylized lotus pond backdrop, ornate border with floral and conch motifs, dramatic yet devotional South Indian aesthetic.","pahari_prompt":"Pahari miniature style: graceful but tense choreography of figures, delicate hands forming a loop, expressive eyes and subtle smiles, cool lake blues and pink lotuses, refined textiles with fine patterns, naturalistic reeds and a gentle hillside distance.","kerala_mural_prompt":"Kerala mural style: bold outlines emphasizing intertwined arms, rhythmic repetition of bangles and lotus motifs, saturated reds/yellows/greens, simplified lake geometry, temple-wall narrative clarity with heightened gesture language.","pichwai_prompt":"Pichwai cloth painting style: symmetrical ring of maidens around the central figure like a floral mandala turning into a snare, dense lotus and vine borders, deep indigo water with gold highlights, peacocks at corners, intricate textile patterns filling negative space."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["anklet bells","rustling silk","quickened footsteps","water splashes","sudden hush"]}
Sandhi Resolution Notes: तत्रैव = तत्र + एव; सव्यापसव्यबंधेन = सव्य + अपसव्य + बन्धेन (समास); भुजपाशम् = भुज + पाशम् (तत्पुरुष)।
FAQs
They are brahmacārins—students observing celibacy and disciplined conduct during the traditional student stage of life.
It indicates an encircling or binding action from both sides—left (savya) and right (apasavya)—suggesting the maidens were restrained by being surrounded.
The verse juxtaposes the identity of brahmacārins (associated with restraint) with an act of physically restraining maidens, implying a narrative moment where conduct and vows are tested or violated (full ethical framing depends on surrounding verses).