Shloka 26
The Origin of the Lauhitya River
and the King of Tīrthas
तमुवाच ततोऽमोघा ब्रह्मा ह्यत्रागतः पते । त्वामेवान्वेषितुं नाथ मया दत्तोत्र पीठकः
tamuvāca tato'moghā brahmā hyatrāgataḥ pate | tvāmevānveṣituṃ nātha mayā dattotra pīṭhakaḥ
แล้วอมฆากล่าวแก่เขาว่า “ข้าแต่นายท่าน พรหมามาที่นี่จริง ๆ โอ้ผู้เป็นที่พึ่ง เพื่อเสาะหาแต่ท่านผู้เดียว ข้าจึงจัดตั้งอาสนะนี้ไว้ที่นี่”
Amoghā
Concept: Atithi-satkāra (honoring the guest) is a sacred act; devotion expresses itself through prepared service.
Application: Prepare a ‘seat’ in life—time, attention, and humility—for wisdom and higher counsel when it arrives.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"Amoghā, poised and earnest, addresses her lord with folded hands, revealing that Brahmā has arrived. A freshly arranged seat—cloth, kusa, and a small pedestal—waits like an altar of welcome, turning the room into a sanctum of anticipation.","primary_figures":["Amoghā","Śukra (Śukrācārya)","Brahmā (implied presence)"],"setting":"a household hall prepared for reception, with an honored seat, water-pot, and offerings arranged neatly","lighting_mood":"divine radiance","color_palette":["lotus pink","sunlit gold","peacock blue","white jasmine","vermilion red"],"tanjore_prompt":"Tanjore painting style: Amoghā speaking with añjali-mudrā beside a prepared āsana, Śukra listening; Brahmā’s presence suggested by a radiant aura near the seat; heavy gold-leaf work on halos and ornaments, rich reds/greens, carved pillars, brass lamps, traditional iconography.","pahari_prompt":"Pahari miniature style: gentle domestic scene with refined facial expressions; Amoghā indicating the prepared seat, Śukra seated thoughtfully; soft pastel textiles, delicate patterns, a quiet courtyard glimpse, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: Amoghā in graceful stance with bold outlines, Śukra seated; the prepared āsana highlighted with auspicious motifs; saturated reds/yellows/greens, stylized eyes, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: ornate floral borders and lotus motifs framing a ceremonial seat; Amoghā and Śukra rendered in devotional courtly style; deep blues and gold, intricate patterns suggesting sacred welcome."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell (distant)","soft bell chimes","rustle of cloth","tanpura drone"]}
Sandhi Resolution Notes: तमुवाच = तम् + उवाच; ततोऽमोघा = ततः + अमोघा; ह्यत्र = हि + अत्र; त्वामेव = त्वाम् + एव; एवाऽन्वेषितुम् = एव + अन्वेषितुम्; दत्तोत्र = दत्तः + उत्र (reading ‘उत्र’ as adverb ‘there’; some editions read ‘अत्र’).
FAQs
Amoghā is speaking, announcing that Brahmā has arrived there and that a seat has been placed in preparation while seeking the lord addressed in the verse.
It highlights single-minded seeking—focused devotion or intent—where the seeker’s attention is directed toward one supreme goal rather than scattered aims.
Offering a seat is a traditional mark of reverence and hospitality toward a revered being; narratively it signals readiness to receive a divine or exalted visitor and to honor them properly.