Shloka 110
Aśokasundarī and Huṇḍa: Chastity, Karma, and the Foretold Rise of Nahuṣa
अत्रिपुत्रो महात्मा वै दत्तात्रेयो महामुनिः । क्रीडमानः स्त्रिया सार्द्धं मदिरारुणलोचनः
atriputro mahātmā vai dattātreyo mahāmuniḥ | krīḍamānaḥ striyā sārddhaṃ madirāruṇalocanaḥ
Dattātreya, resi agung—putra Atri, berhati mulia—sedang bersenda-gurau bersama seorang wanita; matanya memerah seakan tersiram anggur.
Unspecified narrator (contextual speaker not provided in the excerpt)
Concept: A mahātman’s inner realization may remain untouched even when outer conduct appears worldly; discernment (viveka) is required before judging saints.
Application: Avoid quick moral condemnation; evaluate character by steadiness, compassion, and God-centeredness rather than rumor or spectacle.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: forest
Visual Art Cues: {"scene_description":"In a secluded hermitage clearing, Dattātreya—radiant yet disarmingly informal—sports with a woman, his eyes tinged red like wine, while the forest itself seems to pause in astonishment. The scene balances sensual surface with an undercurrent of yogic stillness, hinting that the sage’s mind remains unshaken like a lamp in windless air.","primary_figures":["Dattātreya","a young woman companion","forest hermits in the distance (optional)"],"setting":"Forest āśrama clearing with kusa grass, a simple hut, flowering vines, and a distant sacrificial platform left unused—suggesting the contrast of outer rite and inner realization.","lighting_mood":"forest dappled","color_palette":["saffron ochre","lotus pink","deep forest green","pearl white","smoky sandalwood brown"],"tanjore_prompt":"Tanjore painting style: Dattātreya seated in relaxed posture in an āśrama grove, eyes slightly wine-reddened, a graceful woman beside him; heavy gold leaf halo and borders, rich crimson and emerald textiles, gem-studded ornaments, stylized sacred flora, subtle Vaishnava tilaka motifs, ornate arch framing the forest shrine.","pahari_prompt":"Pahari miniature style: lyrical forest clearing with delicate brushwork, Dattātreya calm-faced despite playful pose, a companion woman in soft pastel garments, distant hut and deer, cool greens and blues with warm pink accents, refined facial features, gentle atmospheric perspective.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; Dattātreya with serene wide eyes and composed smile, companion figure in classical stance, dense stylized foliage, red-yellow-green dominant palette, temple-wall aesthetic with rhythmic floral borders.","pichwai_prompt":"Pichwai cloth painting style: lotus and creeper motifs framing a Vaishnava-tinged forest āśrama; central Dattātreya figure rendered with devotional symmetry, peacocks and cows at the margins, intricate floral borders, deep indigo background with gold highlights, emphasizing paradoxical sanctity amid worldly play."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["forest birds","soft ankle-bells (distant)","rustling leaves","low temple bell (far)"]}
Sandhi Resolution Notes: अत्रिपुत्रो→अत्रि-पुत्रः; क्रीडमानः (क्रीड्+शतृ); मदिरारुणलोचनः→मदिरा-अरुण-लोचनः (बहुव्रीहि).
FAQs
He is identified as Atri’s son and a “mahāmuni” (great sage), known in Purāṇic tradition as an exalted spiritual figure.
It literally means “having eyes reddened like wine,” suggesting intoxication or a wine-like redness; the verse uses it as a descriptive epithet.
This line is primarily descriptive; whether it is meant as praise, a test of perception, or a moral critique depends on the surrounding narrative context of Adhyaya 103.