Shloka 27
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
भीर्द्विजेंद्रं महामोहः प्राविशच्चांतकर्मणि । ततः पापाच्च विप्रस्य चेलं खं च न गच्छति
bhīrdvijeṃdraṃ mahāmohaḥ prāviśaccāṃtakarmaṇi | tataḥ pāpācca viprasya celaṃ khaṃ ca na gacchati
ನಂತರ ಭಯದಿಂದ ಅಂತ್ಯಕರ್ಮದ ವೇಳೆಯಲ್ಲಿ ಆ ದ್ವಿಜೇಂದ್ರನಲ್ಲಿ ಮಹಾಮೋಹ ಪ್ರವೇಶಿಸಿತು. ಆ ಪಾಪದಿಂದ ಆ ವಿಪ್ರನ ವಸ್ತ್ರವು ಆಕಾಶಕ್ಕೆ ಏರಲಿಲ್ಲ.
Unspecified narrator (contextual narration within Sṛṣṭikhaṇḍa)
Concept: Sin and mental agitation (moha) obstruct auspicious rites; fear at liminal moments reveals unresolved guilt.
Application: Before major life-rituals, reconcile conflicts, seek forgiveness, and steady the mind with nāma-smaraṇa; don’t rely on external signs alone.
Primary Rasa: bhayanaka
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A revered brāhmaṇa stands trembling at the edge of a ritual ground, clutching a cloth meant for a rite that should rise skyward as an auspicious sign. The cloth hangs heavy and unmoving, while a shadow of delusion seems to coil around his head like dark mist. The atmosphere is hushed, as if the cosmos itself withholds approval.","primary_figures":["foremost brāhmaṇa (dvijendra)","subtle personification of Moha (as a shadowy aura)"],"setting":"Ritual courtyard near a simple altar; darbha grass, a small fire-pit, and a wide open sky above that feels distant and unresponsive.","lighting_mood":"overcast stillness","color_palette":["pale ash-white","storm gray","darbha green","muted saffron","smoky violet"],"tanjore_prompt":"Tanjore painting style: dvijendra in white/saffron garments holding a ritual cloth that droops; gold leaf used sparingly to contrast ‘withheld’ radiance, ornate border, subtle dark halo of moha around the head, temple-like framing emphasizing moral gravity.","pahari_prompt":"Pahari miniature style: quiet courtyard with delicate lines; the cloth rendered with fine folds, sky washed in cool gray-blue; the brāhmaṇa’s eyes show fear and remorse, a faint translucent shadow behind him suggesting moha without overt demonization.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized cloud bands above, the cloth heavy in the brāhmaṇa’s hands; moha as a dark serpentine aura near the head, strong reds/yellows/greens subdued by gray washes to convey ritual obstruction.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition—central figure with drooping cloth, surrounded by floral borders that appear slightly wilted; deep indigo background with muted gold, lotuses half-closed, conveying blocked auspiciousness and the need for purification."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["low ritual fire crackle","wind in open courtyard","distant bell (single strikes)","silence between phrases"]}
Sandhi Resolution Notes: dvijeṃdram = dvija + indram. prāviśaccāṃtakarmaṇi = prāviśat + ca + antakarmaṇi (t + c → cc). pāpācca = pāpāt + ca.
FAQs
It teaches that fear can give rise to delusion at crucial moments, and that moral failing (pāpa) produces tangible negative consequences.
It is a symbolic sign of an obstructed or inauspicious outcome—an indication that the expected auspicious result of the rite is blocked due to sin.
Not directly in this shloka; it primarily emphasizes ethical causality (karma) and the psychological trigger of fear leading to delusion.