Shloka 22
The Account of Śivaśarman
Dharmaśarmā’s Tapas, Dharma’s Boon, and the Amṛta Mission
वृद्धं ज्ञात्वावमन्येत इयं बाला सुरूपिणी । अद्य देव्यानया सार्द्धं प्रियया भुवनत्रये
vṛddhaṃ jñātvāvamanyeta iyaṃ bālā surūpiṇī | adya devyānayā sārddhaṃ priyayā bhuvanatraye
ಅವನನ್ನು ವೃದ್ಧನೆಂದು ತಿಳಿದು ಯಾರಾದರೂ ಅವಮಾನಿಸಬಹುದು; ಆದರೆ ಈ ಬಾಲೆ ಸುಂದರರೂಪಿಣಿ. ಇಂದು ಈ ಪ್ರಿಯ ದೇವಿಯೊಂದಿಗೆ (ಅವನ) ಮಹಿಮೆ ತ್ರಿಭುವನದಲ್ಲೆಲ್ಲ ಸ್ಥಾಪಿತವಾಗುವುದು.
Unspecified (context not provided in the input excerpt)
Concept: Do not judge by age or outward appearance; the divine may be concealed in unlikely forms, and the feminine power (devī) can overturn ordinary assumptions.
Application: Cultivate reverence toward elders and humility toward those who seem insignificant; treat beauty, youth, and age as unreliable measures of worth.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A seemingly aged figure stands at the threshold of a celestial pathway, while beside him a radiant maiden-devī reveals an unexpected, world-spanning majesty. The onlookers’ skepticism dissolves into awe as the pair’s presence seems to bridge earth, mid-sky, and heaven in one luminous corridor.","primary_figures":["Mysterious aged figure (possibly a disguised divine/saintly presence)","Radiant Devī (beloved goddess)","Astonished attendants or villagers"],"setting":"A liminal crossroads between a village edge and a faintly visible celestial road, with lotus motifs subtly appearing in the air.","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","antique gold","pearl white","emerald green"],"tanjore_prompt":"Tanjore painting style: a disguised aged holy figure beside a resplendent Devī-maiden, both framed by an ornate prabhāmaṇḍala; gold leaf embellishment on jewelry and halo, rich crimson and emerald textiles, gem-studded ornaments, stylized lotus borders, South Indian iconographic symmetry, tri-loka hinted by three stacked horizons behind them.","pahari_prompt":"Pahari miniature style: a lyrical scene at a forest-village threshold where an old ascetic-like figure stands with a luminous maiden-devī; delicate brushwork, cool twilight blues and soft pinks, refined faces, distant layered hills suggesting three worlds, small astonished figures peeking from behind trees, fine floral detailing.","kerala_mural_prompt":"Kerala mural style: bold black outlines and warm natural pigments; the maiden-devī with large expressive eyes and elaborate crown stands beside an aged figure with austere features; temple-wall aesthetic with lotus medallions, red-yellow-green palette, radiating aura filling the background in concentric bands.","pichwai_prompt":"Pichwai cloth painting style: central radiant Devī with lotus motifs and ornate floral borders; deep indigo background with gold highlights, peacocks and stylized lotuses around the frame, a humble aged figure at her side, three-world symbolism shown as three lotus tiers, intricate Nathdwara-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","distant conch shell","gentle wind","subtle drone (tanpura)"]}
Sandhi Resolution Notes: ज्ञात्वावमन्येत = ज्ञात्वा + अवमन्येत; देव्यानया = देव्या + अनया; भुवनत्रये is a dvigu compound (त्रय + भुवन). Verse appears syntactically incomplete at end; analysis given for present padas.
FAQs
It cautions against contempt based on superficial judgments such as age or outward appearance, implying that true worth or destiny may not match what is assumed.
It is a common Purāṇic expression for the tri-loka (heaven, earth, and the nether regions), indicating broad, cosmic scope rather than a local event.
The excerpt alone does not identify them. In the Padma Purāṇa, such lines typically occur within a narrated dialogue; confirming the speaker and referents requires the surrounding verses of Bhūmi-khaṇḍa, Adhyāya 2.