Shloka 67
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
विवाहार्थं महाराज उद्यमं कृतवान्नृप । पुनर्दत्ता तु दानेन दिव्यादेवी द्विजोत्तम
vivāhārthaṃ mahārāja udyamaṃ kṛtavānnṛpa | punardattā tu dānena divyādevī dvijottama
ข้าแต่มหาราช พระราชาทรงเพียรพยายามเพื่อการอภิเษก; และข้าแต่พราหมณ์ผู้ประเสริฐ เทวีผู้ทิพย์นั้นได้ถูกถวายเป็นทานอีกครั้งหนึ่ง
Unspecified narrator (context-dependent within Bhūmi-khaṇḍa dialogue)
Concept: Vivāha and dāna are dharmic acts, yet outcomes remain governed by daiva (destiny) and unseen karmic threads.
Application: Perform life-rites and generosity conscientiously, but hold results lightly; keep vows and ethics steady even when circumstances feel uncanny.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"A royal court prepares for a marriage alliance: ministers unfurl palm-leaf registers, priests arrange a small fire-altar, and a veiled ‘divine lady’ is ceremonially presented again as a formal gift. The atmosphere is auspicious yet edged with an unspoken omen, as if fate watches from behind the pillars.","primary_figures":["a crowned king","the ‘divyā devī’ (veiled noble bride)","court brāhmaṇa officiant","ministers"],"setting":"pillared palace sabhā with a small vivāha-maṇḍapa corner, ritual vessels, garlands, and conch-and-lamp attendants","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","saffron gold","deep maroon","ivory white","peacock green"],"tanjore_prompt":"Tanjore painting style: a South Indian palace sabhā with the king seated on a jewel-studded throne, the veiled divyā-devī presented with dāna-gesture by brāhmaṇas near a small agni-kuṇḍa; heavy gold leaf embellishment on crowns, archways, and jewelry; rich reds and greens, ornate borders, traditional iconographic symmetry, gem-like highlights.","pahari_prompt":"Pahari miniature style: an intimate court scene with delicate linework—king and ministers in consultation while a veiled bride stands near a modest fire-altar; cool yet festive palette, refined faces, patterned textiles, airy architectural arches, subtle omen conveyed through a distant dark cloud beyond the palace balcony.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the king, brāhmaṇa, and veiled divyā-devī arranged frontally; stylized lamps, lotus motifs, and ritual vessels; characteristic large eyes, red-yellow-green dominance, temple-wall aesthetic with ornamental creepers.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial pavilion framed by lotus borders and floral arabesques; attendants with lamps and conch; the bride and king rendered in devotional courtly manner; deep indigo background with gold detailing, peacocks at the margins, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","murmur of court","conch shell (distant)","crackle of ritual fire"]}
Sandhi Resolution Notes: विवाहार्थम् = विवाहार्थम् (समास); कृतवान्नृप = कृतवान् नृप; पुनर्दत्ता = पुनः दत्ता
FAQs
It states that a king made efforts to arrange a marriage, and that the divine lady was formally given again through an act of gifting (dāna).
“Punardattā” literally means “given again,” suggesting a repeated or reaffirmed bestowal—often a formal re-gifting or confirmation within a ritual or social process.
The verse highlights dharma expressed through proper initiative (udyama) in arranging marriage and the sanctity of gifting (dāna) as a socially and ritually significant act.