धिक्तस्य मूढमनसः कुकवेः कवित्वं यः स्त्रीमुखं च शशिनं च समीकरोति । भ्रूक्षेपविस्मितकटाक्षनिरीक्षनिरीक्षितानि कोपप्रसादहसितानि कुतः शशांके ॥ ३९ ॥
dhiktasya mūḍhamanasaḥ kukaveḥ kavitvaṃ yaḥ strīmukhaṃ ca śaśinaṃ ca samīkaroti | bhrūkṣepavismitakaṭākṣanirīkṣanirīkṣitāni kopaprasādahasitāni kutaḥ śaśāṃke || 39 ||
စိတ်မိုက်သော ကဗျာဆိုး၏ “ကဗျာပညာ” ကို အရှက်တင်ရ၏—မိန်းမမျက်နှာကို လနှင့် တူညီစေသူပင်။ အို လမင်းရေ၊ သင်၌ ဘယ်မှာရှိသနည်း—ထပ်ခါထပ်ခါ ကြည့်မိစေသော မျက်ဝန်းကြည့်ချက်များ၊ မျက်ခုံးလှုပ်ရှားမှုများ၊ အံ့သြစေသော ဘေးမျက်စောင်းများ၊ ဒေါသ၊ ကျေးဇူးတရား၊ ရယ်မောမှုတို့?
Narada (contextual attribution within Narada Purana dialogue tradition)
Vrata: none
Primary Rasa: hasya
Secondary Rasa: raudra
It teaches viveka (discernment) in speech and praise: superficial comparisons are criticized, and one is urged to recognize true qualities rather than repeating conventional flattery.
Indirectly, it refines devotional expression by warning against careless, clichéd praise; bhakti is strengthened when words are truthful, attentive, and aligned with real attributes rather than empty metaphor.
A practical takeaway relates to Vyākaraṇa and Nirukta-informed precision in meaning: the verse models careful semantic discrimination and rhetorical correctness (upamā-doṣa avoidance) in Sanskrit expression.