Shloka 13

Adhyaya 61 — The Second Manvantara Begins: The Brahmin’s Swift Journey and Varuthini’s Temptation on Himavat

Sanskrit

मार्कण्डेय उवाच ततः स विप्रस्तं भूयः प्रत्युवाचेदमादरात् ।

श्रद्धधानो वचस्तस्य ब्राह्मणस्य विपश्चितः ॥

Transliteration

mārkaṇḍeya uvāca tataḥ sa vipras taṁ bhūyaḥ pratyuvācedam ādarāt |

śraddadhāno vacas tasya brāhmaṇasya vipaścitaḥ ||

Translation

Dijo Mārkaṇḍeya: Entonces aquel brāhmaṇa (el oyente) le respondió de nuevo con respeto, confiando en las palabras de aquel sabio brāhmaṇa.

Word by Word

• mārkaṇḍeyaḥ: Mārkaṇḍeya
• mārkaṇḍeyaḥ: Karta (कर्ता/Subject)
• Type: Noun
• Root: mārkaṇḍeya (प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Prathamā vibhakti (Nominative/1st), Ekavacana (Singular)

• uvāca: said
• uvāca: Kriyā (क्रिया/Verbal action)
• Type: Verb
• Root: vac (धातु)
• Form: Liṭ lakāra (Perfect), Prathama-puruṣa (3rd person), Ekavacana (Singular), Parasmaipada

• tataḥ: then
• tataḥ: Kāla/Deśa-adhikaraṇa (अधिकरण/Adverbial)
• Type: Indeclinable
• Root: tatas (अव्यय-प्रातिपदिक)
• Form: Avyaya (Indeclinable), adverb (क्रियाविशेषण) of sequence

• saḥ: he
• saḥ: Karta (कर्ता/Subject)
• Type: Noun
• Root: tad (सर्वनाम-प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Prathamā (Nominative/1st), Ekavacana (Singular), Sarvanāma (pronoun)

• vipram: the brāhmaṇa
• vipram: Karma (कर्म/Object)
• Type: Noun
• Root: vipra (प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Dvitīyā (Accusative/2nd), Ekavacana (Singular)

• tam: him
• tam: Karma (कर्म/Object)
• Type: Noun
• Root: tad (सर्वनाम-प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Dvitīyā (Accusative/2nd), Ekavacana (Singular), Sarvanāma (pronoun)

• bhūyaḥ: again
• bhūyaḥ: Kriyā-viśeṣaṇa (क्रियाविशेषण/Adverbial)
• Type: Indeclinable
• Root: bhūyas (अव्यय-प्रातिपदिक)
• Form: Avyaya (Indeclinable), adverb (क्रियाविशेषण) of repetition

• pratyuvāca: replied
• pratyuvāca: Kriyā (क्रिया/Verbal action)
• Type: Verb
• Root: prati-√vac (धातु)
• Form: Liṭ lakāra (Perfect), Prathama-puruṣa (3rd person), Ekavacana (Singular), Parasmaipada; upasarga: prati-

• idam: this (speech/statement)
• idam: Karma (कर्म/Object)
• Type: Noun
• Root: idam (सर्वनाम-प्रातिपदिक)
• Form: Napुंसakaliṅga (Neuter), Dvitīyā (Accusative/2nd), Ekavacana (Singular), Sarvanāma (pronoun)

• ādarāt: out of respect
• ādarāt: Hetu (हेतु/Cause)
• Type: Noun
• Root: ādara (प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Pañcamī (Ablative/5th), Ekavacana (Singular)

• śraddhadhānaḥ: having faith
• śraddhadhānaḥ: Karta (कर्ता/Subject)
• Type: Adjective
• Root: śraddhā-dhāna (कृदन्त-प्रातिपदिक; √dhā)
• Form: Puṃliṅga (Masculine), Prathamā (Nominative/1st), Ekavacana (Singular); Śatṛ/Present active participle sense: 'placing faith'

• vacaḥ: words
• vacaḥ: Karma (कर्म/Object)
• Type: Noun
• Root: vacas (प्रातिपदिक)
• Form: Napुंसakaliṅga (Neuter), Prathamā/Dvitīyā (Nom/Acc), Ekavacana (Singular)

• tasya: of him
• tasya: Sambandha (सम्बन्ध/Genitive relation)
• Type: Noun
• Root: tad (सर्वनाम-प्रातिपदिक)
• Form: Puṃliṅga/Napuṃsaka (Masculine/Neuter), Ṣaṣṭhī (Genitive/6th), Ekavacana (Singular), Sarvanāma

• brāhmaṇasya: of the brāhmaṇa
• brāhmaṇasya: Sambandha (सम्बन्ध/Genitive relation)
• Type: Noun
• Root: brāhmaṇa (प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Ṣaṣṭhī (Genitive/6th), Ekavacana (Singular)

• vipaścitaḥ: the wise one
• vipaścitaḥ: Karta (कर्ता/Subject)
• Type: Adjective
• Root: vipaścit (प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Prathamā (Nominative/1st), Ekavacana (Singular)

Speakers

• Mārkaṇḍeya (narrating) describing the exchange

Verse Rasa

{ "primaryRasa": "shanta", "secondaryRasa": "bhakti", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

Key Themes

• Frame narration
• Śraddhā toward the guru/knower
• Respectful discourse

FAQs

What is the philosophical or ethical takeaway?

Knowledge transmission in Purāṇic culture is relational: respect (ādara) and faith (śraddhā) are prerequisites for receiving higher methods.

How does this fit the Pancalakshana (5 characteristics)?

Narrative connective tissue (ākhyāna) within a larger story arc.

What is the esoteric significance?

The shift to Markandeya’s voice signals layered authority: experiential marvels are embedded within a sanctified chain of narration.