Padma Purana — Bhumi Khanda, Shloka 71
Marks of the Debt-Bound/Enemy Son, Filial Dharma, Detachment, and the Durvāsā–Dharma Episode
दुर्वासा उवाच । भवान्को हि समायात एतैर्द्विजवरैः सह । सप्त नार्यः प्रतिष्ठंति सुरूपाः समलंकृताः
durvāsā uvāca | bhavānko hi samāyāta etairdvijavaraiḥ saha | sapta nāryaḥ pratiṣṭhaṃti surūpāḥ samalaṃkṛtāḥ
दुर्वासा बोले—आप कौन हैं, जो इन श्रेष्ठ ब्राह्मणों के साथ यहाँ आए हैं? और ये सात स्त्रियाँ—सुंदर रूप वाली और अलंकृत—यहाँ क्यों खड़ी हैं?
Durvāsā
Concept: Atithi-parīkṣā: the arrival of unknown persons (especially with brāhmaṇas and adorned women) triggers discernment and tests hospitality, restraint, and purity of perception.
Application: When confronted with unfamiliar situations, ask clear questions without aggression; maintain respectful speech toward guests and women; avoid snap judgments.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: forest
Visual Art Cues: {"scene_description":"Durvāsā, fierce yet luminous, stands at the threshold of a hermitage clearing, his matted locks and ascetic aura contrasting with a small procession: dignified brāhmaṇas and seven exquisitely adorned women, their jewelry catching the light. The moment is suspended in questioning—Durvāsā’s raised hand and sharp gaze freezing the group in respectful stillness.","primary_figures":["Durvāsā","excellent brāhmaṇas (dvija-varāḥ)","seven adorned women"],"setting":"forest hermitage entrance with a simple gate of branches, sacrificial area in the background, deer and peacocks at a distance","lighting_mood":"forest dappled","color_palette":["deep saffron","bark brown","jasmine white","turquoise accents","antique gold"],"tanjore_prompt":"Tanjore painting style: Durvāsā at center with intense eyes and gold-leaf aura, holding a staff; to one side a line of brāhmaṇas with white garments and sacred threads; behind them seven richly ornamented women with gem-studded jewelry, silk saris in emerald and ruby; ornate arch frame, gold leaf highlights on ornaments and halos, traditional South Indian facial stylization.","pahari_prompt":"Pahari miniature style: a lyrical forest clearing with delicate foliage; Durvāsā in ochre robes, expressive questioning gesture; seven women in pastel silks with fine jewelry, brāhmaṇas in white; refined faces, soft shading, and a gentle mountain-horizon suggestion.","kerala_mural_prompt":"Kerala mural style: bold outlines, Durvāsā’s dramatic stance and large eyes; the seven women in stylized ornaments and bright natural pigments; symmetrical composition like a temple panel, dominant reds/greens/yellows with black contouring.","pichwai_prompt":"Pichwai cloth painting style: narrative tableau framed by floral borders and lotus motifs; Durvāsā at left, procession at right; peacocks and cows as auspicious fillers; deep indigo background with gold detailing on jewelry and borders, Nathdwara-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","anklet chimes","wooden staff tap","distant conch-like drone"]}
Sandhi Resolution Notes: भवान्को → भवान् + कः; एतैर्द्विजवरैः → एतैः + द्विजवरैः; प्रतिष्ठंति → प्रतिष्ठन्ति (अनुस्वार/वर्तनीभेद); समलंकृताः → समलङ्कृताः (ङ् before क).
FAQs
He asks the identity of the visitor, why he has come with eminent brāhmaṇas, and why seven well-adorned, beautiful women are present there.
“Dvijavara” literally means “best among the twice-born,” indicating respected, exemplary brāhmaṇas accompanying the visitor.
It sets up a formal inquiry typical of Purāṇic dialogue, prompting the visitor to explain purpose, companions, and circumstances—often leading into a dharmic or ritual context.