Shloka 19
Adhyaya 64 — Kalavati (Vibhavari) Offers Herself and the Padmini Vidya to Svarocisha
जग्राह च ततः पाणी स तयोऽमरद्युतिः ।
नदत्सु देवतूर्येषु नृत्यन्तीष्वप्सरः सु च ॥
jagrāha ca tataḥ pāṇī sa tayor amaradyutiḥ / nadatsu devatūryeṣu nṛtyantīṣv apsaraḥsu ca
Pagkaraan, ang maningning na nilalang na makalangit ay humawak sa mga kamay nila bilang pag-iisang-dibdib, habang umuugong ang mga instrumentong banal at sumasayaw ang mga Apsara.
FAQs
Ritual publicness (music, witnesses) functions as dharmic validation; private desire is integrated into social-cosmic order through rite.
Manvantara narrative: depicts dharma-in-action within a time-cycle, rather than sarga/pratisarga.
The ‘resounding instruments’ and ‘dancing apsarases’ encode the idea that when order is established, the subtle worlds ‘resonate’—harmony is both social and cosmic.