Shloka 27
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
भीर्द्विजेंद्रं महामोहः प्राविशच्चांतकर्मणि । ततः पापाच्च विप्रस्य चेलं खं च न गच्छति
bhīrdvijeṃdraṃ mahāmohaḥ prāviśaccāṃtakarmaṇi | tataḥ pāpācca viprasya celaṃ khaṃ ca na gacchati
তাৰ পিছত ভয়ৰ বশত ব্ৰাহ্মণশ্ৰেষ্ঠৰ অন্ত্যক্ৰিয়াৰ সময়ত মহামোহ প্ৰৱেশ কৰিলে। সেই পাপৰ ফলত বিপ্ৰৰ বস্ত্ৰ আকাশলৈ উঠিল নাহি।
Unspecified narrator (contextual narration within Sṛṣṭikhaṇḍa)
Concept: Sin and mental agitation (moha) obstruct auspicious rites; fear at liminal moments reveals unresolved guilt.
Application: Before major life-rituals, reconcile conflicts, seek forgiveness, and steady the mind with nāma-smaraṇa; don’t rely on external signs alone.
Primary Rasa: bhayanaka
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A revered brāhmaṇa stands trembling at the edge of a ritual ground, clutching a cloth meant for a rite that should rise skyward as an auspicious sign. The cloth hangs heavy and unmoving, while a shadow of delusion seems to coil around his head like dark mist. The atmosphere is hushed, as if the cosmos itself withholds approval.","primary_figures":["foremost brāhmaṇa (dvijendra)","subtle personification of Moha (as a shadowy aura)"],"setting":"Ritual courtyard near a simple altar; darbha grass, a small fire-pit, and a wide open sky above that feels distant and unresponsive.","lighting_mood":"overcast stillness","color_palette":["pale ash-white","storm gray","darbha green","muted saffron","smoky violet"],"tanjore_prompt":"Tanjore painting style: dvijendra in white/saffron garments holding a ritual cloth that droops; gold leaf used sparingly to contrast ‘withheld’ radiance, ornate border, subtle dark halo of moha around the head, temple-like framing emphasizing moral gravity.","pahari_prompt":"Pahari miniature style: quiet courtyard with delicate lines; the cloth rendered with fine folds, sky washed in cool gray-blue; the brāhmaṇa’s eyes show fear and remorse, a faint translucent shadow behind him suggesting moha without overt demonization.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized cloud bands above, the cloth heavy in the brāhmaṇa’s hands; moha as a dark serpentine aura near the head, strong reds/yellows/greens subdued by gray washes to convey ritual obstruction.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition—central figure with drooping cloth, surrounded by floral borders that appear slightly wilted; deep indigo background with muted gold, lotuses half-closed, conveying blocked auspiciousness and the need for purification."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["low ritual fire crackle","wind in open courtyard","distant bell (single strikes)","silence between phrases"]}
Sandhi Resolution Notes: dvijeṃdram = dvija + indram. prāviśaccāṃtakarmaṇi = prāviśat + ca + antakarmaṇi (t + c → cc). pāpācca = pāpāt + ca.
FAQs
It teaches that fear can give rise to delusion at crucial moments, and that moral failing (pāpa) produces tangible negative consequences.
It is a symbolic sign of an obstructed or inauspicious outcome—an indication that the expected auspicious result of the rite is blocked due to sin.
Not directly in this shloka; it primarily emphasizes ethical causality (karma) and the psychological trigger of fear leading to delusion.