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Shloka 57

Adhyaya 7Harishchandra Tested by Vishvamitra: The Gift of the Kingdom and the Pandava Curse-Backstory

विश्वामित्रोऽपि तं दृष्ट्वा पौरवाक्याकुलीकृतम् ।

रोषमर्षविवृत्ताक्षः समागम्य वचोऽब्रवीत् ॥

viśvāmitro 'pi taṃ dṛṣṭvā pauravākyākulīkṛtam /

roṣamarṣavivṛttākṣaḥ samāgamya vaco 'bravīt

ورأى فيشواميترا أيضًا أنه قد أُلقي في الحيرة بكلام الباورافا، فاقترب بعينين متسعتين من الغضب ونفاد الصبر، وتكلّم.

विश्वामित्रःViśvāmitra
विश्वामित्रः:
Karta (कर्ता)
TypeNoun
Rootviśvāmitra (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Singular (एकवचन)
अपिalso, even
अपि:
Sambandha/Emphasis (सम्बन्ध/निपातार्थ)
TypeIndeclinable
Rootapi (अव्यय)
FormParticle/indeclinable (निपात) = 'also/even'
तम्him
तम्:
Karma (कर्म)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन)
दृष्ट्वाhaving seen
दृष्ट्वा:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeVerb
Rootdṛś (धातु)
FormAbsolutive/Gerund (क्त्वान्त/ल्यबन्त), 'having seen'
पौरवाक्यcitizens' words
पौरवाक्य:
Sambandha (सम्बन्ध)
TypeNoun
Rootpaura (प्रातिपदिक) + vākya (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Stem in compound; in context qualifies next member; 'of the citizens' + 'speech/words'
आकुलीकृतम्made confused/agitated
आकुलीकृतम्:
Karma (कर्म)
TypeAdjective
Rootākulī-kṛ (धातु: kṛ with उपसर्ग/प्रत्यय)
FormPast passive participle (कर्मणि क्त), Neuter (नपुंसकलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन); agrees with implied/understood object (tam)
रोषanger
रोष:
Sambandha (सम्बन्ध)
TypeNoun
Rootroṣa (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Stem form in compound
मर्षimpatience/indignation
मर्ष:
Sambandha (सम्बन्ध)
TypeNoun
Rootmarṣa (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Stem form in compound
विवृत्तrolled/turned
विवृत्त:
Sambandha (सम्बन्ध)
TypeAdjective
Rootvi-vṛt (धातु)
FormPast participle (क्त), Stem form in compound; 'turned/rolled'
अक्षःeye
अक्षः:
Karta (कर्ता)
TypeNoun
Rootakṣa (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Singular (एकवचन); in bahuvrīhi compound as final member
रोषमर्षविवृत्ताक्षःhaving eyes rolled in anger and indignation
रोषमर्षविवृत्ताक्षः:
Karta (कर्ता)
TypeAdjective
Rootroṣa (प्रातिपदिक) + marṣa (प्रातिपदिक) + vivṛtta (कृदन्त) + akṣa (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Singular (एकवचन); bahuvrīhi = 'whose eyes are rolled with anger and indignation' (विशेषण of viśvāmitraḥ)
समागम्यhaving approached
समागम्य:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeVerb
Rootsam-ā-gam (धातु)
FormAbsolutive/Gerund (क्त्वान्त/ल्यबन्त), 'having approached/come together'
वचःwords, speech
वचः:
Karma (कर्म)
TypeNoun
Rootvacas (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन)
अब्रवीत्said, spoke
अब्रवीत्:
Kriyā (क्रिया)
TypeVerb
Rootbrū (धातु)
FormImperfect (लङ्), Parasmaipada (परस्मैपद), 3rd person (प्रथमपुरुष), Singular (एकवचन)
Narrator describing Viśvāmitra’s reaction and impending speech (direct speaker in next line/verse: Viśvāmitra)

{ "primaryRasa": "raudra", "secondaryRasa": "vira", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

Rishi–Kshatriya tensionHonor and affront (amarṣa)Speech as a catalyst in dharmic conflictEscalation of narrative conflict

FAQs

The verse highlights how speech (vākya) can disturb mental equilibrium (ākulatā) and provoke krodha/amarṣa. Ethically, it foreshadows the danger of reacting from wounded pride or impatience; restraint in response is a recurring dharmic ideal even for powerful sages.

This is primarily Ākhyāna/Upākhyāna (narrative episode) rather than a direct Pancalakṣaṇa element (sarga, pratisarga, vaṃśa, manvantara, vaṃśānucarita). It may serve as part of vaṃśānucarita if the surrounding passage is tracking a royal lineage (Paurava) and its interactions, but the verse itself is a scene-setting narrative transition.

Symbolically, Viśvāmitra’s ‘widened eyes’ under roṣa-amarṣa depict the outward surge of rājasic energy when the mind is unsettled by external words. The approach (samāgamya) before speaking suggests the inevitability of karmic consequence once inner agitation becomes outward action—speech and intention crystallize into fate within Purāṇic storytelling.