Shloka 62
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
ब्राह्मणा ऊचुः । विवाहो दृश्यते राजन्कन्यायास्तु विधानतः । पतिर्मृत्युं प्रयात्यस्या नोचेत्संगं करोति च
brāhmaṇā ūcuḥ | vivāho dṛśyate rājankanyāyāstu vidhānataḥ | patirmṛtyuṃ prayātyasyā nocetsaṃgaṃ karoti ca
Sinabi ng mga brāhmaṇa: “O Hari, ang wastong kasal ay itinakda para sa dalaga ayon sa banal na tuntunin. Kung hindi, ang kaniyang asawa’y hahantong sa kamatayan kapag hindi niya ganap na pinagbuklod ang pagsasama.”
Brāhmaṇas
Concept: Gṛhastha-dharma requires marriage to be performed according to vidhi; neglect of prescribed union is portrayed as bringing grave inauspicious consequence.
Application: Treat life-stage duties as sacred responsibilities; seek counsel of learned elders/ācāryas for rites and ethical decisions, and avoid impulsive or clandestine arrangements that harm others.
Primary Rasa: dharma
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"In a royal sabhā, solemn brāhmaṇas stand before the king, palms joined, delivering a weighty injunction about a maiden’s marriage. The atmosphere is tense yet orderly—scrolls of dharmaśāstra and ritual vessels nearby—suggesting that cosmic order hinges on correct rite and timing.","primary_figures":["Divodāsa (king)","brāhmaṇas (counselors)","unmarried maiden (symbolic presence, veiled)"],"setting":"royal court with a side-altar for saṁskāra rites; dharmaśāstra manuscripts, kuśa grass, water pot, and sacred fire implements","lighting_mood":"temple lamp-lit","color_palette":["saffron ochre","deep maroon","burnished gold","ivory white","smoky charcoal"],"tanjore_prompt":"Tanjore painting style: Divodāsa seated on a carved throne in a palace sabhā, brāhmaṇas in white with sacred threads addressing him, a small ritual altar with kalasha and agni implements at the side; heavy gold leaf embellishment on throne, jewelry, and halo-like aureoles; rich reds and greens, gem-studded ornaments, crisp South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a refined court scene with delicate linework—king listening intently to austere brāhmaṇas; soft architectural arches, patterned carpets, and a discreet ritual corner with kuśa and manuscripts; cool yet warm-balanced palette, lyrical facial expressions, gentle shading, and a hint of distant hills beyond palace windows.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments—king and brāhmaṇas in frontal/three-quarter poses, expressive eyes, stylized palace pillars, ritual vessels and palm-leaf manuscripts; dominant reds, yellows, greens with controlled ornamentation, temple-wall aesthetic gravitas.","pichwai_prompt":"Pichwai cloth painting style: a dharma-sabhā framed by ornate floral borders and lotus motifs; the king and brāhmaṇas rendered with decorative textiles, peacocks at the margins, and a small sacred fire altar; deep indigo background with gold detailing, intricate patterns emphasizing ritual order."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","low court murmurs","conch shell (distant)","ritual fire crackle"]}
Sandhi Resolution Notes: राजन्कन्यायास्तु = राजन् + कन्यायाः + तु; पतिर्मृत्युम् = पतिः + मृत्युम्; प्रयात्यस्या = प्रयाति + अस्याः; नोचेत्संगं = न + उ + चेत् + सङ्गम् (orthographic sandhi: न + उ → नो; चेत् + सङ्गम् → चेत्सङ्गम्).
FAQs
The speakers are brāhmaṇas addressing a king (“rājan”), presenting a dharma-based statement about marriage rules.
It asserts that a maiden’s marriage is prescribed by injunction, and it frames non-consummation/avoidance of conjugal union as leading to severe inauspicious consequence (expressed here as the husband’s death).
Not directly; it functions primarily as a dharma/social-duty statement within the Bhūmi-khaṇḍa context rather than a devotional (bhakti) or metaphysical teaching.