Shloka 46
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
तुष्टुवुः सहिताः सर्वे तावत्तुष्टो हरः स्वयम् । ततः सदर्शनं प्रादाद्द्विजानां भक्तितः शिवः
tuṣṭuvuḥ sahitāḥ sarve tāvattuṣṭo haraḥ svayam | tataḥ sadarśanaṃ prādāddvijānāṃ bhaktitaḥ śivaḥ
เขาทั้งปวงพร้อมกันสรรเสริญพระองค์ ครั้นแล้วหร (พระศิวะ) ก็ทรงพอพระทัยด้วยพระองค์เอง ต่อมาเพราะศรัทธาภักติของเหล่าทวิชะ พระศิวะจึงประทานทัศนะอันเป็นมงคลแก่พวกเขา
Narrator (contextual narration within Sṛṣṭikhaṇḍa; not a direct quoted dialogue in this verse)
Concept: Bhakti (devotional praise) is a direct cause for īśvara-prasāda; darśana is granted not by entitlement but by heartfelt surrender.
Application: Practice communal prayer/chanting; cultivate sincerity over display—‘together’ (sahitāḥ) suggests shared devotion amplifies steadiness and humility.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A circle of sages raises their hands in synchronized praise, their voices visualized as luminous syllables spiraling upward. From the forest’s heart, Hara appears—matted locks crowned with the crescent, eyes compassionate—granting an auspicious, near-tangible darśana that bathes the clearing in radiance.","primary_figures":["Śiva as Hara","Brahmin sages (dvijas)"],"setting":"Forest clearing near Puṣkara with a small yajña-vedi, incense smoke, and sacred trees forming a natural mandapa","lighting_mood":"divine radiance","color_palette":["ash white","lapis blue","rudraksha brown","moon silver","flame orange"],"tanjore_prompt":"Tanjore painting style: Śiva-Hara manifesting before chanting dvijas, gold leaf aura around Śiva and glowing Sanskrit syllables, rich crimson and emerald garments on attendants, ornate jewelry, gem-like highlights on the crescent moon and trident, symmetrical composition with decorative borders.","pahari_prompt":"Pahari miniature style: delicate forest clearing with soft gradients, Śiva appearing gently among trees, refined facial expressions of wonder on sages, cool palette with silver moon accents, lyrical naturalism, fine detailing of prayer beads and sacred threads.","kerala_mural_prompt":"Kerala mural style: monumental Śiva with bold outlines and iconic eyes, sages in stylized seated/standing poses, radiant halo rendered in yellow and red, temple-wall composition with vegetal motifs framing the scene.","pichwai_prompt":"Pichwai cloth painting style: devotional tableau with ornate floral borders, stylized trees and lotus motifs, Śiva centered with a luminous aura, sages arranged in rhythmic symmetry, deep indigo background with gold highlights and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (soft)","temple bells","group chanting","incense crackle","sudden hush at darśana"]}
Sandhi Resolution Notes: tāvattuṣṭo → tāvat + tuṣṭaḥ; prādāddvijānāṃ → prādāt + dvijānām; sadarśanaṃ → sa-darśanam (compound).
FAQs
It presents bhakti as the direct cause of divine grace: Śiva becomes pleased by sincere praise and grants “sadarśana”—a blessed, direct experience of his presence.
“Dvija” literally means “twice-born,” commonly referring to the Vedic initiated classes, especially brāhmaṇas in devotional contexts. Here it highlights that even learned ritualists receive the highest fruit through devotion—Śiva’s direct audience.
Unified, heartfelt praise and devotion lead to inner and outer transformation: the deity is “pleased,” and the devotee receives clarity and blessing through divine darśana—encouraging sincerity over mere formality.