Shloka 41
Adhyaya 23 — Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati
न चास्ये न च तज्जिह्वा ताम्रोष्ठादिभिरुच्यते ।
इन्द्रोऽपि वसवो ब्रह्मा चन्द्रार्कौ ज्योतिरेव च ॥
na cāsye na ca taj-jihvā tāmroṣṭhādibhir ucyate | indro 'pi vasavo brahmā candrārkau jyotir eva ca ||
ໃນນີ້ບໍ່ມີ ‘ປາກ’ ແລະກໍບໍ່ມີ ‘ລີ້ນ’ ດັ່ງທີ່ເວົ້າກ່ຽວກັບຮິມຝີປາກແດງ ແລະອື່ນໆ (ຄືບໍ່ອາດກໍານົດອະໄວຍະວະໃຫ້ແກ່ສະພາວະສູງສຸດ). ແມ່ນແຕ່ອິນທຣະ, ວາສຸ, ພຣະພຣະຫມາ, ແລະ ຈັນທຣາ-ສຸຣະ (ຈັນ-ຕາເວັນ) ກໍເປັນແຕ່ແສງສະຫວ່າງລ້ວນໆ (ແສງອັນອາໄສ) ໃນກໍລະນີນັ້ນ.
{ "primaryRasa": "shanta", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
Ultimate reality cannot be reduced to physical imagery; even the greatest gods are secondary manifestations. Ethically, it discourages superficial literalism and supports a deeper, more contemplative devotion.
Not a pancalakṣaṇa narrative unit; it is a doctrinal/theological passage that can undergird any creation or deity-hierarchy account by asserting a supreme source beyond form.
By negating mouth/tongue, the hymn points beyond articulated mantra to its silent source; ‘all are light’ suggests that deities and luminaries are rays of the one Śakti-consciousness.