Shloka 167
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
उत्तानहस्तता प्रोक्ता याचतामेव नित्यका । शुभोदयानां धन्यानां न कदाचित्प्रयच्छताम्
uttānahastatā proktā yācatāmeva nityakā | śubhodayānāṃ dhanyānāṃ na kadācitprayacchatām
“อุตตานหัตถตา” คือการยื่นมือขอ เป็นสภาพประจำของผู้ขอทาน; แต่สำหรับผู้มีบุญ ผู้มีอุทัยเป็นมงคล ย่อมไม่เคยมีการ ‘ยกยอม’ ศักดิ์ศรีและความพึ่งตนของตนเลย
Unspecified (context not provided for the dialogue frame in this single-verse input)
Concept: Habitual supplication (‘hands held out’) characterizes dependence; the truly blessed are marked by śubhodaya—an auspicious rise—implying inner sufficiency and dignified conduct.
Application: Avoid cultivating a mindset of constant want; build skills, discipline, and devotion so that you can give rather than beg—materially, emotionally, spiritually.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"Two contrasting figures appear: one with palms outstretched in perpetual pleading, shoulders bent; the other stands upright, serene, with a gentle hand extended in giving, surrounded by subtle signs of auspiciousness. The sage’s words hover like an invisible scale balancing dependence against dignified abundance.","primary_figures":["sage narrator (off to one side)","a beggar with outstretched hands","a fortunate householder/devotee offering alms"],"setting":"edge of an āśrama path where travelers pass; a small shrine in the background suggesting dharma as the axis","lighting_mood":"golden dawn","color_palette":["muted clay brown","sunrise gold","deep teal","ivory white","maroon"],"tanjore_prompt":"Tanjore painting style: split composition—left a supplicant with open palms, right a dignified donor with gold-leaf aura; ornate shrine behind; rich reds and greens, gold leaf on halos and borders, jewel-like detailing on vessels of charity.","pahari_prompt":"Pahari miniature style: gentle moral tableau on a forest path, delicate expressions showing humility vs serene confidence; soft dawn sky, cool greens, refined linework, lyrical realism.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic gestures—open palms of begging contrasted with open palm of giving; warm earthy pigments, temple-wall symmetry, expressive eyes conveying dharma.","pichwai_prompt":"Pichwai cloth painting style: central donor figure framed by lotus vines and auspicious motifs; small vignettes of supplication at the margins; deep blue ground with gold floral borders, devotional ambience."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura","distant temple bell","morning birds","gentle footfalls on forest path"]}
Sandhi Resolution Notes: yācatāmeva = yācatām eva; kadācitprayacchatām = kadācit prayacchatām.
FAQs
Not necessarily. It contrasts habitual begging with the blessed state of auspicious prosperity; it can be read as valuing self-reliance and dignity rather than condemning dāna (charitable giving) itself.
The verse highlights the degradation of constant dependence (begging) and upholds the ideal of a fortunate life marked by stability, dignity, and auspicious uplift.
Literally it means “of those who give/grant.” In this construction it can also imply “giving oneself away” (loss of standing), suggesting that the truly blessed do not fall into that condition.