Shloka 121
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
अरुंधती वसिष्ठस्य सप्तर्षीणां च याः स्त्रियः । अनसूयात्रिपत्नी च तथान्याः प्रमदा इह
aruṃdhatī vasiṣṭhasya saptarṣīṇāṃ ca yāḥ striyaḥ | anasūyātripatnī ca tathānyāḥ pramadā iha
Arundhatī, die Gemahlin Vasiṣṭhas, und die Frauen der Sieben Ṛṣi, und Anasūyā—die Gattin Atris—sowie andere edle Frauen hier (werden genannt).
Unspecified (narrative listing within the chapter; likely within Pulastya–Bhīṣma frame typical to Sṛṣṭikhaṇḍa, but not explicit in this single verse).
Concept: Smaraṇa (recollection) of exemplary sādhvīs and ṛṣi-patnīs establishes a template of śīla (virtue), satya, and tapas as sustaining forces in cosmic order.
Application: Keep ‘satsaṅga by memory’: regularly recall and study lives of the virtuous; cultivate fidelity, truthfulness, hospitality, and restraint in household life.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A serene hermitage tableau where Arundhatī, Anasūyā, and the other ṛṣi-patnīs sit beneath flowering trees, their faces calm with tapas and compassion. Behind them, the Seven Sages appear as luminous silhouettes, while a subtle cosmic lotus motif hints at the Sṛṣṭi-khaṇḍa’s creation setting.","primary_figures":["Arundhatī","Vasiṣṭha","Anasūyā","Atri","Saptarṣis’ wives (collective)"],"setting":"Forest āśrama with thatched huts, yajña-vedī, kusa grass seats, flowering vines, deer and birds at ease","lighting_mood":"forest dappled","color_palette":["sandalwood beige","leaf green","lotus pink","smoke gray","soft gold"],"tanjore_prompt":"Tanjore painting style: Arundhatī and Anasūyā seated in an āśrama before a small yajña-vedī, Saptarṣis behind as haloed figures; heavy gold leaf halos, rich maroon and emerald drapery, gem-studded ornaments kept austere, ornate lotus border referencing Padma Purāṇa’s creation theme.","pahari_prompt":"Pahari miniature style: quiet Himalayan-forest hermitage with delicate brushwork; Arundhatī and Anasūyā in pale garments, refined faces, soft hills and a winding stream, lyrical naturalism with birds perched on branches and a subtle lotus motif in the sky.","kerala_mural_prompt":"Kerala mural style: bold black outlines, natural pigments; ṛṣi-patnīs with characteristic large eyes and calm smiles, yajña-vedī centered, Saptarṣis as radiant presences; dominant red, yellow, green with restrained ornamentation and lotus medallions.","pichwai_prompt":"Pichwai cloth painting style: devotional border of lotuses and tulasi-like foliage framing a central āśrama scene; peacocks and cows at the edges, deep indigo background with gold detailing; the ṛṣi-patnīs portrayed as embodiments of purity, with lotus motifs echoing Padma’s cosmology."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["forest birds","soft wind through leaves","distant ritual bell","gentle silence"]}
Sandhi Resolution Notes: तथान्याः = तथा + अन्याः; अनसूयात्रिपत्नी: treated as two coordinated nouns in apposition (अनसूया + त्रिपत्नी).
FAQs
Arundhatī is presented as Vasiṣṭha’s wife and a model of marital fidelity and virtue; Anasūyā is Atri’s wife, similarly renowned for her purity and dharmic excellence.
It groups celebrated ṛṣi-families and their consorts as exemplars of dharma, indicating a lineage of sanctity and ethical conduct associated with the primal sages.
The verse highlights the ideal of steadfast virtue, self-restraint, and dharmic conduct within household life, using revered figures as cultural and moral exemplars.