Padma Purana — Srishti Khanda, Shloka 11
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
इह चास्माभिरानीता पत्न्यर्थं विनियोजिता । ब्रह्मणालंबिता बाला प्रलापं मा कृथास्त्विह
iha cāsmābhirānītā patnyarthaṃ viniyojitā | brahmaṇālaṃbitā bālā pralāpaṃ mā kṛthāstviha
ਇੱਥੇ ਅਸੀਂ ਇਸ ਨੂੰ ਲਿਆ ਕੇ ਪਤਨੀ ਬਣਨ ਲਈ ਨਿਯੁਕਤ ਕੀਤਾ ਹੈ। ਬ੍ਰਹਮਾ ਨੇ ਇਸ ਬਾਲਾ ਨੂੰ ਸਵੀਕਾਰ ਕੀਤਾ ਹੈ—ਇੱਥੇ ਵਿਅਰਥ ਪ੍ਰਲਾਪ ਨਾ ਕਰ।
Unspecified (contextual speaker not provided in the input excerpt)
Concept: When a dharmic decision is sanctioned by a higher cosmic authority (Brahmā), grief and idle lamentation should yield to acceptance and right conduct.
Application: In family transitions (marriage, relocation, duty changes), reduce unproductive lament; act responsibly once a decision is rightly made.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: celestial_realm
Visual Art Cues: {"scene_description":"A dignified attendant or sage addresses a grieving figure in the celestial hall, gesturing toward Brahmā seated on a lotus-throne. The maiden stands quietly nearby, her fate framed as a dharmic appointment, while the speaker’s firm compassion calms the emotional turbulence.","primary_figures":["Brahmā (Viriñca)","a consoling sage/attendant","a grieving parent/guardian figure","the maiden"],"setting":"Celestial sabhā with lotus pillars, swan motifs, and a central lotus dais for Brahmā.","lighting_mood":"temple lamp-lit","color_palette":["warm gold","sandalwood beige","vermillion","leaf green","sky blue"],"tanjore_prompt":"Tanjore painting style: Brahmā on a lotus throne with gold-leaf halo; a sage in ochre robes raises a calming hand toward a sorrowful figure; the maiden stands modestly; ornate pillars, rich reds and greens, embossed gold borders, jewel-like detailing.","pahari_prompt":"Pahari miniature style: intimate court scene with soft shading; Brahmā in the background on a lotus seat; foreground counsel—sage gently admonishing against lament; delicate textiles, refined faces, pale blues and warm ochres, thin gold accents.","kerala_mural_prompt":"Kerala mural style: symmetrical composition with Brahmā central; bold outlines, stylized gestures of instruction and restraint; warm red/yellow/green palette, decorative lotus bands and swan emblems.","pichwai_prompt":"Pichwai cloth painting style: Brahmā enthroned amid lotus patterns; attendants and sages arranged in rhythmic rows; floral borders and hanging garlands; deep blue ground with gold and vermillion highlights, narrative cartouche-like panels."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low mridangam pulse","assembly hush","soft bell chimes","tanpura drone"]}
Sandhi Resolution Notes: cāsmābhirānītā = ca asmābhiḥ ānītā; brahmaṇālaṃbitā = brahmaṇā ālaṃbitā; kṛthāstviha = kṛthāḥ tu iha.
FAQs
It asserts that the maiden has been formally brought and designated for marriage, and that Brahmā has accepted the arrangement; therefore, the addressee is told not to grieve or argue.
Yes—within the narrative it discourages futile lamentation and urges acceptance of an already-decided course of action.
Brahmā is cited as the authoritative figure who has ‘accepted’ (ālambitā) the girl, validating the decision and ending further dispute in the scene.