Shloka 56
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
प्रविष्टो ब्रह्मणः सद्म दृष्टो देवैर्द्विजोत्तमैः । प्रहसंति च केप्येनं केचिन्निर्भर्त्सयंति च
praviṣṭo brahmaṇaḥ sadma dṛṣṭo devairdvijottamaiḥ | prahasaṃti ca kepyenaṃ kecinnirbhartsayaṃti ca
ബ്രഹ്മന്റെ ധാമത്തിൽ പ്രവേശിച്ചപ്പോൾ ദേവന്മാരും ശ്രേഷ്ഠ ദ്വിജന്മാരും അവനെ കണ്ടു; ചിലർ പരിഹസിച്ചു, ചിലർ ശാസിച്ചു।
Narrator (context not fully determinable from a single verse)
Concept: Ridicule of the holy—especially when disguised as lowly—reveals inner impurity; laughter can be adharma when rooted in contempt.
Application: In gatherings—religious or social—avoid groupthink mockery; practice respectful speech toward ascetics, strangers, and the marginalized.
Primary Rasa: hasya
Secondary Rasa: karuna
Type: celestial_realm
Visual Art Cues: {"scene_description":"Inside Brahmā’s luminous hall, devas and learned brāhmaṇas turn their heads toward a ragged, ‘mad’ ascetic who has wandered in. Some cover their mouths in laughter, others point and scowl—while the ascetic’s face remains tranquil, hinting at a hidden cosmic power.","primary_figures":["Maheśvara (Śiva) in madman guise","Brahmā (implied presence/seat)","devas","brāhmaṇa sages"],"setting":"Radiant celestial court with lotus motifs, Vedic seats, and a central throne-like dais for Brahmā","lighting_mood":"divine radiance with sharp highlights on faces to emphasize reactions","color_palette":["lotus pink","burnished gold","pearl white","emerald green","storm gray"],"tanjore_prompt":"Tanjore painting style: Brahmā’s lotus-themed court with heavy gold leaf; rows of devas and brāhmaṇas in jeweled attire reacting—some laughing, some reproaching; the disguised Maheśvara at center-left with ash tones and matted hair, halo subtly embossed, ornate borders and rich maroons.","pahari_prompt":"Pahari miniature style: airy palace interior with lotus columns; expressive but refined faces showing laughter and scolding; the ascetic figure calm and centered, cool pastel palette with precise linework and gentle shading.","kerala_mural_prompt":"Kerala mural style: symmetrical court scene, bold outlines; exaggerated eye expressions for laughter and reproach; Maheśvara in ash-white with jata, minimal ornaments, aura indicated by concentric rings, warm pigment blocks.","pichwai_prompt":"Pichwai cloth painting style: decorative lotus border; central court rendered like a devotional tableau; figures arranged in rhythmic rows; deep blues and gold, intricate floral fillers, the ‘mad’ ascetic as a quiet axis amid swirling reactions."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["murmuring assembly","sharp laughter bursts","anklet and ornament clinks","sudden hush"]}
Sandhi Resolution Notes: देवैर्द्विजोत्तमैः = देवैः + द्विजोत्तमैः; केप्येनं = के + अपि + एनम्; केचिन्निर्भर्त्सयन्ति = केचित् + निर्भर्त्सयन्ति
FAQs
A person enters Brahmā’s dwelling and is noticed by the gods and eminent brāhmaṇas; their reactions are mixed—some mock him while others reprimand him.
The verse hints at social and moral scrutiny: improper conduct invites either ridicule or censure, emphasizing the importance of worthy behavior in sacred or elevated settings.
Not explicitly. On its own, the verse is a narrative moment set in Brahmā’s abode; Bhakti or tīrtha themes—if present—would depend on surrounding verses in Adhyāya 17.