113-114. The countenance and form of Shiva’s followers also underwent a magical
transformation. They too became auspicious and good looking. They appeared so
wonderful in appearance that their sight enchanted the mind not only of the onlookers
but also that of Kamdeo himself.
Hearing this good tiding, the women and men folk of the city felt very
delighted and went ahead to have a glimpse of the party once again. (113)
At that time, it appeared that Shiva was like the full moon of a winter night,
the Gods were like the stars, while the citizens resembled flocks of Chakors (Indian
red-legged partridge which is said to be enamoured of the moon) who had assembled
in all the directions to watch or to stare unblinkingly at them. [The citizens of the
mountain kingdom who collected to have a glimpse of the wonderful sight of Shiva
and his companion after their transformation into beautiful forms are compared to the
bird Chakor which gather in large numbers to gaze at the full moon of the winter
night.] (114)
The marriage ceremony of Shiva and Parvati
fxjcj iB, cksfy yxu csjk HkbZA
eaxy vj?k ik¡oM+s nsr pys ybZAA115AA
gksfga lqeaxy lxqu lqeu cj"kfga lqjA
xgxgs xku fulku eksn eaxy iqjAA116AA
girabara paṭha'ē bōli lagana bērā bha'ī.
maṅgala aragha pām̐vaṛē dēta calē la'ī. 115.
hōhiṁ sumaṅgala saguna sumana baraṣahiṁ sura.
gahagahē gāna nisāna mōda maṅgala pura. 116.
115-116. When the auspicious moment arrived, the most exalted amongst the
mountains, Giribar (Himwan, father of Parvati) sent an invitation to the groom’s party
to come to the venue of the marriage ceremony. He brought them respectfully by
offering libations and laying a red-carpet to welcome them.^1 (115)
There were auspicious signs and the Gods showered flowers. Joyous songs
and musical beating of drums were accompanied by joyous celebrations and
festivities in the city.^2 (116)
[Note—^1 Refer: Ram Charit Manas, Baal Kand, Doha no. 99—to Chaupai line no. 4
that precedes Doha no. 100.
(^2) Refer: Ram Charit Manas, Baal Kand—(i), Chaupai line nos. 2-3 that precede Doha
no. 99; (ii) Chaupai line no. 2 that precedes Doha no. 100; and (iii) Chaupai line no. 5
that precedes Doha no. 101.]
ifgfyfga iofj lqlke/k Hkk lq[k nk;dA
bfr fcf/k mr fgeoku lfjl lc yk;dAA117AA
efu pkehdj pk# Fkkj lft vkjfrA
jfr flgkfga yf[k :i xku lqfu HkkjfrAA118AA
pahilihiṁ pavari susāmadha bhā sukha dāyaka.
iti bidhi uta himavāna sarisa saba lāyaka. 117.
mani cāmīkara cāru thāra saji ārati.