Padma Purana — Bhumi Khanda, Shloka 26
Entering Kāmodā and the Doctrine of Dreams, Sleep, and the Self
पंचैव आत्मना सार्द्धं प्रभवंति प्रयांति च । आत्मादयो ह्यमी भद्रे नित्यरूपा न संशयः
paṃcaiva ātmanā sārddhaṃ prabhavaṃti prayāṃti ca | ātmādayo hyamī bhadre nityarūpā na saṃśayaḥ
ธาตุทั้งห้านี้ เมื่อประกอบพร้อมกับอาตมัน ย่อมปรากฏว่าเกิดและดับ แต่โอ้ผู้เป็นมงคล อาตมันและสิ่งอื่นๆ เหล่านี้มีสภาวะนิรันดร์—หาใช่มีความสงสัยไม่
Unspecified (addressing a female interlocutor as 'bhadre')
Concept: The five (elements) together with the self ‘arise and pass away’ in manifestation, yet are ‘eternal in nature’—a teaching that distinguishes transformation from absolute destruction.
Application: Hold two truths: experiences change, but the deeper principles (self, nature’s laws, dharma) endure; this stabilizes the mind and supports consistent devotional practice.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A circular diagram fills the scene: the five elements arranged as petals around a central radiant self, with arrows showing ‘arising’ and ‘returning’ like breath. The teacher and the auspicious listener stand at the edge of the mandala, the listener’s posture shifting from confusion to calm as the paradox resolves.","primary_figures":["bhadre (female interlocutor)","teacher figure (unnamed)","pañca-bhūta mandala","central ātman light"],"setting":"Mandala-like teaching space—cosmic diagram hovering above a simple earth altar.","lighting_mood":"clear daylight with a soft inner glow from the mandala","color_palette":["radiant gold","sky blue","earth brown","leaf green","crystal white"],"tanjore_prompt":"Tanjore painting style: ornate pañca-bhūta mandala as lotus petals around a central ātman-bindu; teacher and bhadre at the side with gold-leaf halos; embossed gold arrows indicating cyclic arising/return; rich decorative borders, jewel-toned accents.","pahari_prompt":"Pahari miniature style: elegant circular mandala floating above a small altar; delicate arrows and petal labels implied through symbolism; soft blues/greens, refined figures, contemplative stillness, minimal ornamentation.","kerala_mural_prompt":"Kerala mural style: bold circular elemental lotus with thick outlines; central golden self; teacher and listener in iconic poses; saturated pigments and temple-wall symmetry, didactic clarity.","pichwai_prompt":"Pichwai cloth painting style: circular lotus-mandala with five elemental motifs as petals; intricate floral border; central golden bindu; deep blue background with gold and white detailing, devotional geometry."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["tanpura drone","single bell strikes","gentle wind","soft water trickle","silence at cadence"]}
Sandhi Resolution Notes: पंचैव = पञ्च + एव; प्रयांति = प्रयान्ति (anusvāra spelling in input); आत्मादयो = आत्मा + आदयः; ह्यमी = हि + अमी.
FAQs
The verse refers to a set of “five” that arise and pass away along with the embodied condition; depending on the surrounding context, this can align with common Purāṇic/Sāṅkhya groupings (e.g., five elements or other pentads). The verse itself does not specify which pentad.
The line can be read as distinguishing changing manifestations (arising/passing) from an underlying, enduring nature (nityarūpa). In many Indian philosophical idioms, forms and functions change while the foundational principle is treated as constant.
It contrasts transience (prabhava/prayāna—arising and passing) with the claim of an underlying permanence, emphasizing the Self (ātman) as central and asserting certainty (“no doubt”) about the enduring nature being discussed.