Shloka 118
तासां गृहे यदा पूर्वं ब्रह्माद्यास्सुरसत्तमाः । गंधर्वाप्सरसश्चैव यक्षास्सर्वे च गुह्यकाः
tāsāṃ gṛhe yadā pūrvaṃ brahmādyāssurasattamāḥ | gaṃdharvāpsarasaścaiva yakṣāssarve ca guhyakāḥ
పూర్వకాలంలో వారి గృహమునకు బ్రహ్మాది శ్రేష్ఠ దేవతలు, గంధర్వ-అప్సరసలు, అలాగే సమస్త యక్షులు మరియు గుహ్యకులు (వచ్చినప్పుడు),
Unspecified in the provided excerpt (context needed from surrounding verses of Adhyaya 31).
Concept: Atithi-satkāra (honoring guests) can transform an ordinary home into a divine assembly-hall; the sacred descends where generosity and purity are present.
Application: Treat guests, elders, and devotees with reverence; keep food and speech pure; make the household a daily altar through simple acts of giving.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A humble yet radiant household threshold becomes a celestial court as Brahmā arrives with a retinue of shining devas. Gandharvas hover with vīṇās and Apsarases scatter flower-petals, while Yakṣas and Guhyakas stand as jeweled guardians, turning domestic space into a sanctified mandala.","primary_figures":["Brahmā","foremost Devas","Gandharvas","Apsarases","Yakṣas","Guhyakas","householder women (implied)"],"setting":"A courtyard with a tulasi platform and a small altar; banana-stems, water-pots, and rangoli at the doorway; offerings laid on leaf-plates.","lighting_mood":"divine radiance","color_palette":["lotus pink","gold leaf","sapphire blue","emerald green","ivory white"],"tanjore_prompt":"Tanjore painting style: a domestic courtyard transformed into a celestial sabhā; Brahmā four-faced on a lotus-seat near the doorway, devas in concentric rows, gandharvas with vīṇā, apsarases with flower garlands; heavy gold leaf halos, gem-studded crowns, rich vermilion and emerald textiles, ornate arch framing the threshold, intricate rangoli and brass lamps.","pahari_prompt":"Pahari miniature style: a lyrical household courtyard with delicate linework; Brahmā and devas arriving at a modest doorway; apsarases in flowing garments, gandharvas playing music; soft pastel sky, fine floral borders, gentle expressions, detailed textiles, a small tulasi shrine and water-pot near the steps.","kerala_mural_prompt":"Kerala mural style: bold black outlines and temple-wall composition; Brahmā and devas in frontal iconic poses entering a courtyard; apsarases with stylized eyes and jewelry; warm red-yellow-green palette, lamp-lit altar, patterned floor, rhythmic arrangement of attendants.","pichwai_prompt":"Pichwai cloth painting style: a sanctified courtyard with lotus motifs and floral borders; celestial visitors arranged symmetrically as if in a festival darśan; garlands, hanging lamps, peacocks at the edges; deep indigo background with gold highlights, intricate vine-work framing the scene."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft vīṇā drone","flower petals falling","conch shell (distant)"]}
Sandhi Resolution Notes: ब्रह्माद्यास्सुरसत्तमाः → ब्रह्माद्याः + सुरसत्तमाः; गंधर्वाप्सरसश्चैव → गन्धर्वाः + अप्सरसः + च + एव; यक्षास्सर्वे → यक्षाः + सर्वे.
FAQs
Guhyakas are a class of semi-divine attendant beings, commonly associated with Kubera’s retinue in Purāṇic literature, often grouped with Yakṣas and other supernatural guardians.
Such catalog-style lists typically signal a grand, pan-cosmic gathering—indicating that the event being described drew attention from multiple orders of celestial and semi-celestial beings.
By itself, it mainly sets scene and scale rather than stating an explicit ethical teaching; the lesson (if any) depends on the surrounding narrative in Adhyaya 31.