Padma Purana — Bhumi Khanda, Shloka 25
The Nature of Knowledge, the Guru as Living Tīrtha, and the Law of Final Remembrance
तस्य कौतुकवाक्यैर्वा मुग्धोऽहं द्विजसत्तम । शुकस्य पुत्ररूपस्य नित्यं तत्परमानसः
tasya kautukavākyairvā mugdho'haṃ dvijasattama | śukasya putrarūpasya nityaṃ tatparamānasaḥ
ഹേ ദ്വിജസത്തമാ! അവന്റെ കൗതുകവചനങ്ങൾ കൊണ്ട് ഞാൻ മോഹിതനായി; ശുകന്റെ പുത്രരൂപത്തിൽ പ്രത്യക്ഷനായ അവനോടു എന്റെ മനസ് നിത്യം തത്പരമായി നിന്നു.
Unspecified narrator (context-dependent within Bhūmi-khaṇḍa 123)
Concept: The mind naturally becomes ‘tat-para’ (devoted/absorbed) in what it repeatedly hears and loves; playful speech can bind attention—hence choose objects of affection wisely.
Application: Notice what captivates you daily (voices, content, companions); consciously replace trivial enchantments with Hari-kathā, japa, and uplifting friendships.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"In a quiet courtyard, a charming young parrot—described as ‘Śuka’s son’—tilts its head and speaks playfully, while the narrator figure listens, visibly enchanted, eyes softened and posture leaning in. The scene subtly shows how affection becomes absorption: a thread of attention like a golden line connects listener and speaker.","primary_figures":["young parrot (śuka-putra-rūpa)","captivated listener/narrator figure","brāhmaṇa household figures (optional, in background)"],"setting":"Domestic courtyard with flowering vines, a small shrine corner, and a tulasī planter as a silent witness to shifting devotion.","lighting_mood":"golden dawn","color_palette":["lotus pink","parrot green","honey gold","sky blue","ivory"],"tanjore_prompt":"Tanjore painting style: central pair—radiant green parrot with ornate perch and the captivated devotee figure; gold leaf used to depict the ‘bond’ of attention as a luminous ribbon; rich crimson backdrop, emerald accents, gem-studded ornaments, traditional arch frame with lotus and tulasī motifs.","pahari_prompt":"Pahari miniature style: lyrical courtyard with delicate blossoms; the parrot speaking with tiny beak detail; the listener’s refined expression shows gentle enchantment; soft blues and pinks, fine brushwork, intimate storytelling composition.","kerala_mural_prompt":"Kerala mural style: bold outlined parrot and listener with expressive eyes; decorative floral borders; warm reds and yellows with green highlights; stylized gesture showing the listener’s mind turning ‘tat-para’.","pichwai_prompt":"Pichwai cloth painting style: central medallion of the playful parrot; surrounding lotus rings contain small panels of ‘mind absorption’—japa beads, scripture, kīrtana—suggesting the ideal redirection of enchantment toward Kṛṣṇa; deep blue and gold with peacocks and floral borders."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Khamaj","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["soft laughter-like bird calls","courtyard breeze","anklet chime in distance","gentle hand-clap rhythm (subtle)"]}
Sandhi Resolution Notes: मुग्धोऽहं = मुग्धः + अहम्; कौतुकवाक्यैर्वा = कौतुकवाक्यैः + वा; तत्परमानसः = तत्पर + मानस (समास)
FAQs
'Dvijasattama' means 'best of the twice-born' and is a respectful address to a brahmin interlocutor; the exact identity depends on the surrounding dialogue of Adhyaya 123.
The verse conveys fascination and steady inner attachment—being 'mugdha' (enchanted) by the person’s words and remaining 'tatparamānasaḥ' (mentally devoted to him).
It literally means 'one who has the form of Śuka’s son,' indicating a figure presented or recognized as the son of the sage Śuka; identifying the specific figure requires the broader narrative context.