Shloka 118
The Account and Merit of Śivadūtī
with the Nāga-tīrtha at Puṣkara
तासां गृहे यदा पूर्वं ब्रह्माद्यास्सुरसत्तमाः । गंधर्वाप्सरसश्चैव यक्षास्सर्वे च गुह्यकाः
tāsāṃ gṛhe yadā pūrvaṃ brahmādyāssurasattamāḥ | gaṃdharvāpsarasaścaiva yakṣāssarve ca guhyakāḥ
Autrefois, lorsque Brahmā et d’autres, les plus éminents parmi les dieux—avec les Gandharvas et les Apsaras, ainsi que tous les Yakṣas et les Guhyakas—vinrent dans leur demeure,
Unspecified in the provided excerpt (context needed from surrounding verses of Adhyaya 31).
Concept: Atithi-satkāra (honoring guests) can transform an ordinary home into a divine assembly-hall; the sacred descends where generosity and purity are present.
Application: Treat guests, elders, and devotees with reverence; keep food and speech pure; make the household a daily altar through simple acts of giving.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A humble yet radiant household threshold becomes a celestial court as Brahmā arrives with a retinue of shining devas. Gandharvas hover with vīṇās and Apsarases scatter flower-petals, while Yakṣas and Guhyakas stand as jeweled guardians, turning domestic space into a sanctified mandala.","primary_figures":["Brahmā","foremost Devas","Gandharvas","Apsarases","Yakṣas","Guhyakas","householder women (implied)"],"setting":"A courtyard with a tulasi platform and a small altar; banana-stems, water-pots, and rangoli at the doorway; offerings laid on leaf-plates.","lighting_mood":"divine radiance","color_palette":["lotus pink","gold leaf","sapphire blue","emerald green","ivory white"],"tanjore_prompt":"Tanjore painting style: a domestic courtyard transformed into a celestial sabhā; Brahmā four-faced on a lotus-seat near the doorway, devas in concentric rows, gandharvas with vīṇā, apsarases with flower garlands; heavy gold leaf halos, gem-studded crowns, rich vermilion and emerald textiles, ornate arch framing the threshold, intricate rangoli and brass lamps.","pahari_prompt":"Pahari miniature style: a lyrical household courtyard with delicate linework; Brahmā and devas arriving at a modest doorway; apsarases in flowing garments, gandharvas playing music; soft pastel sky, fine floral borders, gentle expressions, detailed textiles, a small tulasi shrine and water-pot near the steps.","kerala_mural_prompt":"Kerala mural style: bold black outlines and temple-wall composition; Brahmā and devas in frontal iconic poses entering a courtyard; apsarases with stylized eyes and jewelry; warm red-yellow-green palette, lamp-lit altar, patterned floor, rhythmic arrangement of attendants.","pichwai_prompt":"Pichwai cloth painting style: a sanctified courtyard with lotus motifs and floral borders; celestial visitors arranged symmetrically as if in a festival darśan; garlands, hanging lamps, peacocks at the edges; deep indigo background with gold highlights, intricate vine-work framing the scene."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft vīṇā drone","flower petals falling","conch shell (distant)"]}
Sandhi Resolution Notes: ब्रह्माद्यास्सुरसत्तमाः → ब्रह्माद्याः + सुरसत्तमाः; गंधर्वाप्सरसश्चैव → गन्धर्वाः + अप्सरसः + च + एव; यक्षास्सर्वे → यक्षाः + सर्वे.
FAQs
Guhyakas are a class of semi-divine attendant beings, commonly associated with Kubera’s retinue in Purāṇic literature, often grouped with Yakṣas and other supernatural guardians.
Such catalog-style lists typically signal a grand, pan-cosmic gathering—indicating that the event being described drew attention from multiple orders of celestial and semi-celestial beings.
By itself, it mainly sets scene and scale rather than stating an explicit ethical teaching; the lesson (if any) depends on the surrounding narrative in Adhyaya 31.