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
تب اموغہ نے کہا، “اے پتی! برہما ہی یقیناً یہاں آیا تھا۔ اے ناتھ! صرف آپ ہی کو ڈھونڈنے کے لیے میں نے یہاں یہ آسن رکھا ہے۔”
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.