Shloka 170
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
म्लेच्छेषु पार्वतीयेषु कुत्सिते कुत्सिते तथा । मूर्खेषु चावलिप्तेषु अभिशप्ते दुरात्मनि
mleccheṣu pārvatīyeṣu kutsite kutsite tathā | mūrkheṣu cāvalipteṣu abhiśapte durātmani
Unter den Mlecchas, unter den Bergbewohnern, unter den Niederträchtigen—ja, immer wieder den Niederträchtigen; unter den Toren und Überheblichen, unter den Verfluchten und den bösbeseelten.
Unspecified (context needed from surrounding verses to identify the dialogue pair)
Concept: Association with adharmic, arrogant, and cursed company is portrayed as a spiritual and social degradation.
Application: Choose companions and environments that support truthfulness, humility, and self-restraint; avoid arrogance and contempt that invite downfall.
Primary Rasa: bibhatsa
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A stern ascetic figure pronounces a denunciation, the air thick with the weight of moral censure. In the background, shadowy silhouettes of rough mountain-dwellers and foreign tribes fade into a bleak landscape, symbolizing spiritual exile and loss of auspiciousness.","primary_figures":["Unnamed female ascetic/śāpinī (curse-giver)","Symbolic figures of mlecchas and parvatīyas"],"setting":"Rocky foothills near a hermitage boundary, with a threshold line (lakṣmaṇa-rekhā-like) separating sacred grove from harsh terrain.","lighting_mood":"storm-gathering twilight","color_palette":["ash gray","iron black","dull ochre","smoky violet","blood red accents"],"tanjore_prompt":"Tanjore painting style: a fierce yet composed female ascetic at the hermitage threshold raising a hand in śāpa-mudrā, gold leaf halo and ornate borders contrasting with a dark rocky mountain backdrop; rich maroon and deep green garments, gem-studded ornaments minimal, emphasis on moral severity and divine law.","pahari_prompt":"Pahari miniature style: delicate linework showing a hermitage edge with pine-like mountain flora, the curse-giver in simple saffron, distant parvatīya figures rendered small; cool grays and muted blues, lyrical but tense atmosphere, expressive eyes conveying disgust and anger.","kerala_mural_prompt":"Kerala mural style: bold black outlines, the ascetic’s large stylized eyes and raised palm of curse, background of jagged hills and dark clouds; natural pigments—red, yellow, green—tempered with soot-black to convey bibhatsa-raudra mood.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition—lotus border motifs turned austere, central figure of the curse-giver framed by floral patterns that wither toward the edges; deep indigo ground with gold highlights, narrative cartouches showing ‘bad association’ as darkened vignettes."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low temple drum","distant thunder","wind through dry leaves","brief silence after key epithets"]}
Sandhi Resolution Notes: चावलिप्तेषु = च + अवलिप्तेषु; दुरात्मनि = दुर् + आत्मनि (समास); श्लोक में सप्तमी-बहुवचन पदों की सूची, अन्त में सप्तमी-एकवचन (अभिशप्ते दुरात्मनि) विशेष-निर्देश।
FAQs
Both terms appear, but the dominant thrust is ethical categorization—listing groups marked by ignorance, arrogance, and wickedness; “pārvatīya” can denote mountain-dwellers yet functions here within a moral inventory rather than a travelogue.
In many Purāṇic passages, “mleccha” broadly refers to communities viewed as outside Vedic/Sanskritic norms (often “foreign” or “non-orthodox”); interpretation should be contextual and not reduced to a single modern ethnic label.
The verse condemns dispositions like folly (mūrkha), conceit (avalipta), and wicked intent (durātman), implying that such traits place one among the blameworthy and spiritually obstructive categories.