Shloka 35
The Consecration (Anointing) of Indra
एतद्वः सर्वमाख्यातं यथापृष्टं द्विजोत्तमाः । अन्यं पृच्छ महाभाग संदेहं ते भिनद्म्यहम्
etadvaḥ sarvamākhyātaṃ yathāpṛṣṭaṃ dvijottamāḥ | anyaṃ pṛccha mahābhāga saṃdehaṃ te bhinadmyaham
โอ้ผู้ประเสริฐในหมู่ทวิชะ ข้าพเจ้าได้บอกทั้งหมดตามที่ท่านถามแล้ว; โอ้ผู้มีบุญยิ่ง จงถามสิ่งอื่นเถิด—ข้าพเจ้าจักขจัดความสงสัยของท่าน
Unspecified narrator/sage (context-dependent within Bhūmi-khaṇḍa dialogue)
Concept: A qualified teacher invites further questioning and removes saṃśaya (doubt) through orderly narration.
Application: Ask precise questions in study and practice; treat doubt as something to be clarified, not suppressed; continue inquiry after receiving an answer.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A serene forest āśrama where a venerable narrator-sage sits on kuśa grass, palm-leaf manuscript beside him, addressing attentive brāhmaṇa sages. The moment captures the pause after an answer—hands raised in a gentle gesture inviting the next question, as if doubt itself is being lifted from the air.","primary_figures":["Sūta (or an elder narrator-sage)","assembly of ṛṣis (dvijottamāḥ)"],"setting":"Hermitage courtyard with sacrificial fire, water pot, and shaded trees; a low wooden seat (āsana) and manuscript bundle.","lighting_mood":"forest dappled","color_palette":["sandalwood beige","leaf green","smoke gray","ochre","soft saffron"],"tanjore_prompt":"Tanjore painting style: a seated narrator-sage with halo-like aureole, right hand in teaching mudrā, surrounded by attentive ṛṣis; gold leaf highlights on halos, fire altar, and manuscript edges; rich vermilion and emerald textiles, ornate borders, gem-studded ornaments subtly on ritual vessels; traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate hermitage scene with delicate linework; refined faces of sages, cool greens and pale ochres; a small yajña-kuṇḍa with thin smoke; lyrical trees and distant hills; emphasis on calm dialogue and poised gestures.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm yellow-red-green palette; large expressive eyes on sages; stylized trees and ritual implements; narrator centered with teaching gesture; temple-wall aesthetic with patterned borders.","pichwai_prompt":"Pichwai cloth painting style: devotional discourse framed by intricate floral borders and lotus motifs; sages seated in semicircle like a satsang; deep indigo background with gold detailing; peacocks and flowering creepers at the margins; emphasis on sacred listening as a bhakti act."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["soft rustle of leaves","low crackle of sacrificial fire","distant birds","brief temple bell"]}
Sandhi Resolution Notes: एतद्वः = एतत् + वः; सर्वमाख्यातम् = सर्वम् + आख्यातम्; यथापृष्टम् = यथा + अपृष्टम्; भिनद्म्यहम् = भिनद्मि + अहम् (यण्-सन्धि)
FAQs
It closes one explanation and invites further questioning, emphasizing that doubts should be addressed through continued inquiry and teaching.
“Dvijottamāḥ” refers to “the best of the twice-born,” typically learned Brahmins or qualified Vedic students; here it is a respectful address to the listeners.
It models a healthy teacher–student dynamic: clear answers, openness to further questions, and the importance of removing uncertainty through guidance rather than speculation.