Shloka 30
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
याचितो ब्राह्मणैर्ब्रह्मा वरान्नो देहि चेप्सितान् । यथेप्सितं वरं तेषां तदा ब्रह्माप्ययच्छत
yācito brāhmaṇairbrahmā varānno dehi cepsitān | yathepsitaṃ varaṃ teṣāṃ tadā brahmāpyayacchata
ബ്രാഹ്മണർ ബ്രഹ്മാവിനോട് അപേക്ഷിച്ചു—“ഞങ്ങൾ ആഗ്രഹിക്കുന്ന വരങ്ങൾ നല്കണമേ.” അപ്പോൾ ബ്രഹ്മാവും അവരുടെ ഇഷ്ടപ്രകാരം തന്നെ വരം പ്രസാദിച്ചു।
Narrator (contextual; direct speech is attributed to the brāhmaṇas addressing Brahmā)
Concept: Legitimate desire, when voiced through dharmic petition within yajña, receives orderly fulfillment through the cosmic administrator (Brahmā).
Application: Frame requests (goals, resources, relief) as disciplined intentions aligned with duty; seek outcomes through ethical means and community-sanctioned processes rather than coercion.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A vast sacrificial pavilion hums with mantra and measured movement. Brāhmaṇas, palms joined, petition four-faced Brahmā seated on a lotus-throne near the altar; Brahmā’s calm gesture of granting boons sends a subtle radiance across the yajña-fire and offerings.","primary_figures":["Brahmā","brāhmaṇa ṛtviks","yajamāna (patron)"],"setting":"yajña-śālā with vedi (altar), blazing agni, ladles, kusa grass, soma vessels, and orderly rows of seated priests","lighting_mood":"temple lamp-lit","color_palette":["gold leaf","saffron orange","smoke gray","lotus pink","emerald green"],"tanjore_prompt":"Tanjore painting style: Brahmā with four faces seated on a lotus pedestal beside a grand yajña-vedi, right hand in vara-mudrā granting boons to kneeling brāhmaṇas; thick gold-leaf halos, rich crimson and emerald textiles, gem-studded crowns, ornate arch framing the sacrificial fire and ritual vessels, South Indian iconographic precision.","pahari_prompt":"Pahari miniature style: a serene yajña pavilion with delicate linework; Brahmā on a lotus seat, brāhmaṇas in white with subtle ochre borders, small agni-flames rendered like petals; cool pastel sky, refined faces, lyrical composition with trees and distant hills beyond the pavilion.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Brahmā’s four faces and lotus seat emphasized, agni as stylized red-yellow tongues, priests in rhythmic poses; flat temple-wall perspective, large expressive eyes, dominant reds, yellows, greens with controlled ornamentation.","pichwai_prompt":"Pichwai cloth painting style: yajña scene reimagined with lotus borders and floral filigree; central altar surrounded by concentric decorative motifs, divine radiance above; deep indigo background with gold detailing, peacock and lotus accents framing the boon-giving gesture."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low yajña-chanting","crackling fire","wooden ladle taps","soft temple bells","conch shell (distant)"]}
Sandhi Resolution Notes: brāhmaṇair brahmā → brāhmaṇairbrahmā; varān naḥ → varānno; ca īpsitān → cepsitān; yathā īpsitam → yathepsitam; brahmā api → brahmāpy; api ayacchat → apyayacchata (orthographic assimilation).
FAQs
It portrays Brahmā as responsive to the righteous petition of brāhmaṇas, granting boons in accordance with their stated wishes.
In this line the emphasis is on the efficacy of a respectful petition by brāhmaṇas and Brahmā’s role as bestower of boons; it leans more toward ritual-social authority than explicit bhakti theology.
Clear intention and respectful supplication are shown as effective, and a ruler/divine authority is idealized as one who grants fitting requests when properly approached.