Shloka 27
Sukalā’s Account: Ikṣvāku and Sudevā; the Boar’s Resolve and the Dharma of Battle
नैवं भीतोस्मि क्षुब्धोस्मि गतोऽहं गिरिसानुषु । पापाद्भीतो गतः कांतेधर्मं दृष्ट्वा स्थितोह्यहम्
naivaṃ bhītosmi kṣubdhosmi gato'haṃ girisānuṣu | pāpādbhīto gataḥ kāṃtedharmaṃ dṛṣṭvā sthitohyaham
నేను ఇలా భయపడటం లేదు, కలతపడటం కూడా లేదు; నేను పర్వత శిఖరాల ఒడ్లకు వెళ్లాను. పాపభయంతో, ఓ ప్రియతమా, నేను దూరమయ్యాను; ధర్మాన్ని దర్శించి నేను స్థిరంగా నిలిచాను.
Unspecified in the provided excerpt (context needed from surrounding verses of Bhūmi-khaṇḍa 42)
Concept: Fear of sin can mature into stable commitment to dharma; inner steadiness replaces agitation when one ‘sees’ dharma clearly.
Application: When guilt or anxiety arises, convert it into corrective action: step back from harmful environments, seek satsanga/śāstra, and choose one concrete dharmic vow to stabilize the mind.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: mountain
Visual Art Cues: {"scene_description":"A remorseful figure stands on wind-swept mountain slopes, the turbulence of past fear dissolving into calm resolve. In the distance, a faint, compassionate radiance suggests Hari’s unseen guidance, while the figure’s posture shifts from flight to firm dharma-sthiti.","primary_figures":["A penitent being (former sinner)","Subtle presence of Hari (Viṣṇu) as distant radiance"],"setting":"Rocky mountain ledges with sparse pines, a narrow path leading upward, small hermitage silhouette far away","lighting_mood":"golden dawn","color_palette":["slate gray","saffron gold","pine green","mist white","deep indigo"],"tanjore_prompt":"Tanjore painting style: a penitent figure on stylized mountain slopes with ornate cloud bands; distant Viṣṇu-radiance as a circular aureole in the sky; gold leaf embellishment on the dawn halo and path edges, rich vermilion and emerald accents, gem-studded ornaments minimal to emphasize renunciation, traditional South Indian iconographic framing.","pahari_prompt":"Pahari miniature style: lyrical Himalayan foothills, delicate brushwork showing mist and pine trees; the figure in simple garments pauses on a ridge, hands in añjali; a soft, distant glow hints at Hari; cool blues and greens with warm dawn wash, refined facial expression of quiet resolve.","kerala_mural_prompt":"Kerala mural style: bold black outlines, natural pigments; mountain rendered as rhythmic bands; the penitent with large expressive eyes, calm mouth; a subtle Viṣṇu aura in the upper register; red-ochre, yellow, and green palette with temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: symbolic landscape with lotus motifs along the border; a small central figure on a stylized hill path; above, a circular mandala-like aura suggesting Hari; intricate floral borders, deep blues and gold, devotional atmosphere without narrative clutter."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","mountain wind","distant conch shell","silence between phrases"]}
Sandhi Resolution Notes: naivaṃ = na evam; bhītosmi = bhītaḥ asmi; kṣubdhosmi = kṣubdhaḥ asmi; gato'haṃ = gataḥ aham; pāpādbhīto = pāpāt bhītaḥ; kāṃtedharmaṃ = kānte dharmam; sthitohyaham = sthitaḥ hi aham.
FAQs
The speaker contrasts fear and agitation with moral clarity: fear of pāpa (sinful wrongdoing) leads them to seek refuge and then remain steady after recognizing dharma.
Mountains function as a symbolic retreat or place of refuge and reflection, suggesting withdrawal from harmful action and a turn toward ethical steadiness.
It teaches that awareness of wrongdoing can prompt repentance and change, and that true stability comes from recognizing and standing firm in dharma.