Shloka 71
Marks of the Debt-Bound/Enemy Son, Filial Dharma, Detachment, and the Durvāsā–Dharma Episode
दुर्वासा उवाच । भवान्को हि समायात एतैर्द्विजवरैः सह । सप्त नार्यः प्रतिष्ठंति सुरूपाः समलंकृताः
durvāsā uvāca | bhavānko hi samāyāta etairdvijavaraiḥ saha | sapta nāryaḥ pratiṣṭhaṃti surūpāḥ samalaṃkṛtāḥ
ทุรวาสากล่าวว่า “ท่านเป็นผู้ใดจึงมาที่นี่พร้อมกับพราหมณ์ผู้ประเสริฐเหล่านี้? และเหตุใดสตรีทั้งเจ็ด—รูปงามและประดับประดา—จึงยืนอยู่ ณ ที่นี้?”
Durvāsā
Concept: Atithi-parīkṣā: the arrival of unknown persons (especially with brāhmaṇas and adorned women) triggers discernment and tests hospitality, restraint, and purity of perception.
Application: When confronted with unfamiliar situations, ask clear questions without aggression; maintain respectful speech toward guests and women; avoid snap judgments.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: forest
Visual Art Cues: {"scene_description":"Durvāsā, fierce yet luminous, stands at the threshold of a hermitage clearing, his matted locks and ascetic aura contrasting with a small procession: dignified brāhmaṇas and seven exquisitely adorned women, their jewelry catching the light. The moment is suspended in questioning—Durvāsā’s raised hand and sharp gaze freezing the group in respectful stillness.","primary_figures":["Durvāsā","excellent brāhmaṇas (dvija-varāḥ)","seven adorned women"],"setting":"forest hermitage entrance with a simple gate of branches, sacrificial area in the background, deer and peacocks at a distance","lighting_mood":"forest dappled","color_palette":["deep saffron","bark brown","jasmine white","turquoise accents","antique gold"],"tanjore_prompt":"Tanjore painting style: Durvāsā at center with intense eyes and gold-leaf aura, holding a staff; to one side a line of brāhmaṇas with white garments and sacred threads; behind them seven richly ornamented women with gem-studded jewelry, silk saris in emerald and ruby; ornate arch frame, gold leaf highlights on ornaments and halos, traditional South Indian facial stylization.","pahari_prompt":"Pahari miniature style: a lyrical forest clearing with delicate foliage; Durvāsā in ochre robes, expressive questioning gesture; seven women in pastel silks with fine jewelry, brāhmaṇas in white; refined faces, soft shading, and a gentle mountain-horizon suggestion.","kerala_mural_prompt":"Kerala mural style: bold outlines, Durvāsā’s dramatic stance and large eyes; the seven women in stylized ornaments and bright natural pigments; symmetrical composition like a temple panel, dominant reds/greens/yellows with black contouring.","pichwai_prompt":"Pichwai cloth painting style: narrative tableau framed by floral borders and lotus motifs; Durvāsā at left, procession at right; peacocks and cows as auspicious fillers; deep indigo background with gold detailing on jewelry and borders, Nathdwara-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","anklet chimes","wooden staff tap","distant conch-like drone"]}
Sandhi Resolution Notes: भवान्को → भवान् + कः; एतैर्द्विजवरैः → एतैः + द्विजवरैः; प्रतिष्ठंति → प्रतिष्ठन्ति (अनुस्वार/वर्तनीभेद); समलंकृताः → समलङ्कृताः (ङ् before क).
FAQs
He asks the identity of the visitor, why he has come with eminent brāhmaṇas, and why seven well-adorned, beautiful women are present there.
“Dvijavara” literally means “best among the twice-born,” indicating respected, exemplary brāhmaṇas accompanying the visitor.
It sets up a formal inquiry typical of Purāṇic dialogue, prompting the visitor to explain purpose, companions, and circumstances—often leading into a dharmic or ritual context.