Shloka 48
Description of Cyavana’s Austerity and Enjoyment
यदा सस्मार दयितमृषीणां वल्लभं पतिम् । तत्र चास्ते सहस्त्रीभिर्यत्रास्ते स मुनीश्वरः
yadā sasmāra dayitamṛṣīṇāṃ vallabhaṃ patim | tatra cāste sahastrībhiryatrāste sa munīśvaraḥ
ครั้นนางระลึกถึงสามีอันเป็นที่รัก ผู้เป็นที่รักของเหล่าฤๅษีและเป็นเจ้าอันพึงบูชา นางก็ไปปรากฏ ณ ที่นั้นเอง ที่ซึ่งมุนีผู้เป็นใหญ่พำนักอยู่พร้อมสตรีนับพัน
Narrator (contextual speaker not specified in the provided excerpt; likely within the Pulastya–Bhīṣma narration framework of the Padma Purāṇa)
Concept: Smaraṇa (remembrance) has transformative power—mind’s focused recollection can bridge distance and bring one into the presence of the beloved (human or divine).
Application: Use intentional remembrance—japa, nāma-smaraṇa, or mindful recollection of one’s dharma—to ‘arrive’ inwardly at steadiness and right action.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A woman closes her eyes in intense remembrance, and the space around her ripples like a veil being drawn aside. In the next instant she stands within a luminous pavilion where a great sage-lord sits, surrounded by a thousand women like a constellation around a moon—yet the atmosphere is strangely still, as if held by yoga.","primary_figures":["Heroine (unnamed)","Muni-īśvara (beloved husband)","A thousand women attendants"],"setting":"A celestial-hermitage pavilion or refined āśrama court, with pillars carved with lotus and vine motifs, suggesting a liminal realm between earth and siddha-loka.","lighting_mood":"divine radiance","color_palette":["moonstone white","lapis lazuli","pale gold","smoky violet","lotus coral"],"tanjore_prompt":"Tanjore painting style: dramatic two-moment composition—left panel the heroine in remembrance with closed eyes, right panel her sudden appearance before a muni-īśvara seated on a jeweled dais; gold leaf used for aura and pavilion arches, rich reds/greens, gem-studded ornaments on attendants, symmetrical rows suggesting ‘a thousand’ through repeating figures, ornate lotus borders.","pahari_prompt":"Pahari miniature style: lyrical scene with soft architectural pavilion, the heroine stepping into the space as if from a mist; the sage-lord calm at center, attendants arranged in gentle arcs; cool mountain palette with delicate brushwork, refined faces, subtle sense of wonder without heaviness.","kerala_mural_prompt":"Kerala mural style: bold outlines, large expressive eyes, the heroine mid-transition with swirling aura lines; central sage-lord seated, attendants in patterned garments; warm red/yellow background with green accents, temple-wall grandeur, stylized lotus pillars.","pichwai_prompt":"Pichwai cloth painting style: the pavilion framed by dense lotus borders; repeating attendant figures like a patterned mandala around the central seated lord; deep indigo ground with gold highlights, peacocks and lotus ponds as decorative fillers, devotional symmetry emphasizing the miracle of remembrance."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell swell","tanpura drone","soft cymbals","sudden hush"]}
Sandhi Resolution Notes: dayitam + ṛṣīṇām → dayitamṛṣīṇāṃ; tatra + ca + āste → tatra cāste; sah + strībhiḥ → sahastrībhiḥ; yatra + āste → yatrāste.
FAQs
The verse emphasizes the immediacy of remembrance: upon thinking of her beloved lord—esteemed among sages—she is (or arrives) precisely where he is staying, depicted as being with a thousand women.
Primarily it reads as narrative description, but it also aligns with a common Purāṇic motif: mental recollection (smaraṇa) leading to proximity or connection with the remembered person.
The excerpt only calls him 'munīśvaraḥ' (lord among sages) and does not name him explicitly; identifying him requires surrounding verses in Adhyaya 15.