Shloka 126
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
सावित्री व्याकुला देव प्रसक्ता गृहकर्माणि । सख्यो नाभ्यागता यावत्तावन्नागमनं मम
sāvitrī vyākulā deva prasaktā gṛhakarmāṇi | sakhyo nābhyāgatā yāvattāvannāgamanaṃ mama
ਹੇ ਦੇਵ! ਸਾਵਿਤ੍ਰੀ ਵਿਹਲ ਹੈ ਅਤੇ ਘਰ ਦੇ ਕਰਮਾਂ ਵਿੱਚ ਲੱਗੀ ਹੋਈ ਹੈ। ਜਦ ਤੱਕ ਉਸ ਦੀਆਂ ਸਖੀਆਂ ਨਹੀਂ ਆਉਂਦੀਆਂ, ਤਦ ਤੱਕ ਮੈਂ ਨਹੀਂ ਆਵਾਂਗੀ।
Uncertain from single-verse context (likely a dialogue addressed to a male deity, 'deva')
Concept: Even divine figures are shown bound by role-dharma and social timing; haste in sacred matters can be checked by propriety and circumstance.
Application: Honor commitments and timing; do not force outcomes when responsibilities and community obligations require patience.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A celestial household scene pauses the momentum of a grand sacrifice: Sāvitrī, visibly distressed, stands amid ritual vessels and domestic implements, glancing toward the doorway as if awaiting her companions. A male deity is addressed respectfully, while the distant glow of a yajña-śālā hints at urgency held back by social propriety.","primary_figures":["Sāvitrī","a male deva (contextual addressee)","attendant sakhīs (arriving in the distance)"],"setting":"Brahmā’s ritual precinct adjoining a divine household courtyard; yajña pavilion visible with altars, ladles, and smoke plumes beyond.","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","saffron gold","smoke gray","emerald green","pearl white"],"tanjore_prompt":"Tanjore painting style: Sāvitrī in ornate silk with gold-leaf halo and gem-studded jewelry, standing at the threshold of a yajña-śālā; ritual kalashas and ladles rendered with metallic highlights; distant sakhīs approaching; rich reds and greens, heavy gold embossing, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: Sāvitrī in delicate profile with refined features, anxious eyes, and soft gestures; a courtyard with flowering vines and a glimpse of the yajña pavilion; cool pastel sky, lyrical naturalism, fine brushwork, subtle smoke from the altar drifting behind.","kerala_mural_prompt":"Kerala mural style: Bold black outlines, flat natural pigments; Sāvitrī with characteristic large eyes and stylized ornaments; yajña fire and vessels simplified into iconic forms; warm red-yellow-green palette with rhythmic decorative borders like temple walls.","pichwai_prompt":"Pichwai cloth painting style: A devotional courtyard with lotus borders and floral arabesques; Sāvitrī centered, attendants and sakhīs arranged symmetrically; deep indigo background with gold detailing; peacocks and lotus motifs framing the threshold, ornate textile-like patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft temple bells","distant yajña fire crackle","murmured household activity","conch shell far away"]}
Sandhi Resolution Notes: nābhyāgatāḥ → na + abhyāgatāḥ; yāvattāvat → yāvat + tāvat; tāvannāgamanam → tāvat + na + āgamanam.
FAQs
From this verse alone, the speaker cannot be identified with certainty; it is someone addressing a male deity ('deva') and referring to Sāvitrī’s distress and obligations.
It highlights the tension between ritual/social timing and domestic duty—arrival or participation is deferred until companions arrive and responsibilities are managed.
The verse suggests attentiveness to propriety and circumstance: one should act at the appropriate time, considering responsibilities and social context rather than acting impulsively.