Shloka 88
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
यस्माद्यूयं त्रिभिर्भागैः सभायां बाह्यतः स्थिताः । तस्मादामूलिको गुल्मो ह्येको भवतु वो द्विजाः
yasmādyūyaṃ tribhirbhāgaiḥ sabhāyāṃ bāhyataḥ sthitāḥ | tasmādāmūliko gulmo hyeko bhavatu vo dvijāḥ
Oleh sebab kamu, wahai para dvija, berdiri di luar balai perhimpunan dalam tiga kelompok, maka hendaklah bagi kamu hanya ada satu rumpun tumbuhan—tercabut hingga ke akar, tanpa berakar.
Unspecified (narrative context not provided in the input)
Concept: Factionalism and externalism lead to spiritual ‘uprooting’; unity and inner qualification, not mere group identity, grant entry into sacred discourse.
Application: Avoid forming identity-based cliques; cultivate a single ‘root’—steady practice and humility—so learning does not become performative.
Primary Rasa: raudra
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Three clusters of brāhmaṇas stand outside a grand hall, their separation emphasized by empty space between them. A sudden decree manifests as a single uprooted clump of vegetation—tangled stems and leaves—lying at their feet, a visual metaphor for severed dharmic roots and forced unity through consequence.","primary_figures":["brāhmaṇas (three groups)","a commanding authority figure (Brahmā or an officiant)","the manifested uprooted plant-clump (gulmā)"],"setting":"threshold of a celestial assembly hall—steps, doorway, and boundary line clearly visible","lighting_mood":"storm-charged","color_palette":["dry earth brown","leaf green","ashen white","iron gray","warning red"],"tanjore_prompt":"Tanjore painting style: ornate golden doorway of the sabhā with embossed gold leaf; three groups of brāhmaṇas positioned outside in triangular composition; at center foreground an uprooted clump of plants with exposed roots absent (stylized as torn ends), highlighted with gold accents; intense expressions, rich maroon and green textiles, dramatic contrast and decorative borders.","pahari_prompt":"Pahari miniature style: palace threshold with delicate architecture; three separated groups in calm but tense poses; the uprooted plant-clump painted with fine botanical detail, lying as a moral emblem; cool grays and muted greens, subtle drama without excess ornament.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized doorway and boundary; three groups rendered with rhythmic spacing; central gulmā as a graphic motif—tangled green mass with severed base; red-yellow accents to convey the force of decree, temple narrative panel framing.","pichwai_prompt":"Pichwai cloth painting style: symmetrical border of vines and lotuses; central motif of a tangled plant-clump beneath an ornate arch; three groups of figures placed around it like a mandala of discord; deep indigo background with gold highlights, floral borders turning the moral lesson into a devotional textile tableau."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["thunder-like mridangam stroke","sharp bell strike","wind rush at a doorway","collective gasp","sudden silence"]}
Sandhi Resolution Notes: यस्माद्यूयं = यस्मात् + यूयम्; त्रिभिर्भागैः = त्रिभिः + भागैः; तस्मादामूलिको = तस्मात् + आमूलिकः; ह्येको = हि + एकः; वो = वः (enclitic).
FAQs
It gives a cause-and-effect statement: because certain dvijas stood outside an assembly in three groups, they are assigned (or become associated with) a single “rootless” gulma (a clump/thicket), suggesting an etiological or punitive explanation.
Āmūlika means “without roots” or “uprooted,” and gulma means a shrub-clump or thicket; together it denotes a rootless/uprooted clump of vegetation.
From the single-verse input alone, the speaker cannot be identified with certainty; the surrounding verses of Adhyaya 17 are needed to attribute it to a specific narrator or dialogue pair.