Shloka 14
Rules of Edible and Inedible Foods
पुनर्भुवो विशेषेण तथैव दिधिषूपतेः । अवज्ञातं चावधूतं सरोषं विस्मयान्वितम्
punarbhuvo viśeṣeṇa tathaiva didhiṣūpateḥ | avajñātaṃ cāvadhūtaṃ saroṣaṃ vismayānvitam
ప్రత్యేకంగా అతడు పునర్వివాహిత స్త్రీని, అలాగే పునర్వివాహిత భర్తనూ అవమానించి నిర్లక్ష్యం చేశాడు; కోపంతో నిండిపోయి ఆశ్చర్యంతో కూడినవాడయ్యాడు।
Unspecified narrator (context-dependent within Svargakhaṇḍa 56)
Concept: Avajñā (contempt) and uncontrolled anger toward socially vulnerable persons is portrayed as a moral fault that disturbs dharmic conduct.
Application: Avoid contemptuous speech/behavior; respond to complex social situations with restraint, fairness, and compassion rather than reactive anger.
Primary Rasa: raudra
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A tense domestic-courtly scene where a stern man turns away in contempt from a remarried woman and her husband, his brows knit in anger while onlookers register astonishment. The atmosphere feels judgmental and brittle, emphasizing the moral danger of avajñā and krodha rather than celebrating it.","primary_figures":["a remarried woman (punarbhū)","her husband (didhīṣūpati)","a wrathful judge/elder figure","astonished onlookers"],"setting":"a village assembly hall (sabha) with carved pillars, low wooden seats, and a threshold shrine lamp in the corner","lighting_mood":"temple lamp-lit","color_palette":["smoked umber","lamp-gold","deep maroon","ash gray","indigo shadow"],"tanjore_prompt":"Tanjore painting style: a moral-lesson sabha scene with a wrathful elder turning away from a remarried couple, gold leaf highlighting the lamp flame and pillar ornaments, rich maroons and greens, stylized South Indian architecture, gem-like detailing on garments, expressive eyes conveying contempt and astonishment.","pahari_prompt":"Pahari miniature style: a village courtyard assembly with delicate linework, cool muted palette, refined faces showing shock and anger, patterned textiles, distant trees and hills, lyrical composition emphasizing social tension and moral consequence.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments, a sabha interior with a glowing oil lamp, large expressive eyes, the elder’s red-tinged anger contrasted with the couple’s subdued posture, ornamental borders and temple-like motifs.","pichwai_prompt":"Pichwai cloth painting style: symbolic moral tableau framed by floral borders and lotus motifs, figures arranged like a didactic panel, deep blues and gold accents, peacocks at the border, emphasis on the lamp as witness to dharma rather than a Krishna-līlā scene."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low temple bell","murmur of an assembly","oil-lamp crackle","brief silence after a harsh line"]}
Sandhi Resolution Notes: पुनर्भुवो = पुनर्भुवः; तथैव = तथा + एव; चावधूतं = च + अवधूतम्; विस्मयान्वितम् = विस्मय + अन्वितम् (समास/योग).
FAQs
Punarbhu refers to a woman who enters a new union after a prior marriage—often glossed as a “remarried woman” in Dharmaśāstra-derived vocabulary.
Didhiṣūpati means “the husband of a didhiṣū/punarbhu,” i.e., the man associated with such a remarriage/second union; the verse says he too was treated with contempt.
The verse portrays a breakdown of right conduct: contempt and dismissal lead to anger and disturbed judgment, suggesting that disrespectful treatment triggers emotional agitation rather than dharmic restraint.