tēhi samaya sāja samāja saba rākhē sumaṇḍapa āni kai. 14.
Chanda 14. She (the mother-in-law) was immersed in an ocean of joy and happiness
while taking the Arti (of the groom). Then she offered sacrifices, watched him
enthralled, and escorted him to the ceremonial canopy (the Mandap). She was
continuously making libations before the groom as ceremonial welcoming carpets
were spread in the front as they walked towards the marriage canopy. All along the
way, fresh flowers were being showerd on the path of the groom.
Himwan honoured all the Gods and gave them suitable seats. Whatever was
necessary at that time (for performance of the marriage rites) were brought and kept at
the auspicious Mandap (the main venue of the marriage ceremony). (14)
vj?k nsb efu vklu cj cSBk;mA
iwft dhUg e/kqidZ veh vpok;mAA121AA
lIr fjf"kUg fcf/k dgsm fcyac u ykbvA
yxu csj Hkb csfx fc/kku cukbvAA122AA
aragha dē'i mani āsana bara baiṭhāya'u.
pūji kīnha madhuparka amī acavāya'u. 121.
sapta riṣinha bidhi kahē'u bilamba na lā'i'a.
lagana bēra bha'i bēgi bidhāna banā'i'a. 122.
121-122. Oblations were offered and the groom was seated on a gem-studded seat^1.
He was then worshipped and honoured, and the ritual of ‘offering sweets’ was
completed and he was offered water (to clean the mouth). (121)
Thereafter, Brahma asked the seven celestial sages not to delay any further
because the auspicious moment had arrived. ‘Complete all the formalities quickly’, he
said. (122)
[Note—^1 Refer: Ram Charit Manas, Baal Kand, Chaupai line nos. 3-4 that precede
Doha no. 100.]
Fkkfi vuy gj cjfg clu ifgjk;mA
vkugq nqyfgfu csfx le; vc vk;mAA123AA
l[kh lqvkflfu lax xkSfj lqfB lksgfrA
çxV :ie; ewjfr tuq tx eksgfrAA124AA
thāpi anala hara barahi basana pahirāya'u.
ānahu dulahini bēgi samaya aba āya'u. 123.
sakhī su'āsini saṅga gauri suṭhi sōhati.
pragaṭa rūpamaya mūrati janu jaga mōhati. 124.
123-124. Then the ceremonial, sacred fire was lit and the groom was made to wear
suitable garments. Then it was asked that the bride be brought to the venue as soon as
possible because the auspicious time had arrived. (123)
At that time Gauri (Parvati) looked most adorable and magnificent along with
her companions and other married girls of her age as if beauty had assumed an image
to enchant and captivate the world and hold it enthralled^1. (124)
[Note—^1 Refer: Ram Charit Manas, Baal Kand, Chaupai line nos. 5-8 and Chanda that
precede Doha no. 100.]