Shloka 19
The Glory of the Brāhmaṇa
Brāhmaṇa-Mahimā and Pādodaka Merit
दैन्ययुक्तं वचः प्राह क्ष्मासुरं स तपोधनम् । भो स्वामिन्शृणु मे वाक्यं दयालुरिव मन्यते
dainyayuktaṃ vacaḥ prāha kṣmāsuraṃ sa tapodhanam | bho svāminśṛṇu me vākyaṃ dayāluriva manyate
ด้วยถ้อยคำอันนอบน้อม นักบำเพ็ญตบะผู้ประเสริฐกล่าวแก่กษฺมาสุระว่า “ข้าแต่เจ้านาย โปรดสดับวาจาของข้าพเจ้า” โดยเห็นว่าเขาเปี่ยมเมตตา
The tapodhana (a great ascetic; unnamed in this single verse) speaking to Kṣmāsura
Concept: Even before a cruel power, the sādhū chooses humility and appeals to latent compassion—vāk becomes a non-violent instrument of dharma.
Application: When facing aggression, begin with de-escalation: respectful address, clear request, and appeal to shared humanity.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: forest
Visual Art Cues: {"scene_description":"An emaciated yet radiant ascetic stands with folded palms before the looming figure of Kṣmāsura, whose armor and shadow dwarf the hermit. The ascetic’s face is calm, eyes lifted in appeal, as if drawing a thin thread of compassion out of a hardened heart.","primary_figures":["tapodhana (great ascetic)","Kṣmāsura"],"setting":"forest-edge near a hermitage path, with kusa grass, a small fire altar in the distance, and tall sal trees","lighting_mood":"forest dappled with a sudden shaft of divine light on the ascetic","color_palette":["earth brown","sage green","iron gray","saffron ochre","pale gold"],"tanjore_prompt":"Tanjore painting style: the tapodhana with folded hands before a towering asura; gold leaf used to halo the ascetic’s serenity and to ornament the asura’s armor; rich reds and greens in forest stylization; traditional iconographic clarity with jewel-like highlights on weapons and ornaments.","pahari_prompt":"Pahari miniature style: refined, delicate ascetic figure in white cloth, subtle facial emotion; Kṣmāsura rendered with controlled menace; cool greens and grays, lyrical trees and distant hermitage; emphasis on gesture (añjali) and psychological tension.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized forest backdrop; the ascetic’s calm eyes large and expressive; the asura’s form massive with patterned ornaments; warm reds/yellows/greens with deep black contouring, mural-like symmetry.","pichwai_prompt":"Pichwai cloth painting style: narrative panel with ornate floral borders; the ascetic centered with lotus motifs symbolizing purity; the asura at the side, peacocks and vines framing the moral drama; deep blues and gold accents, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["rustling leaves","distant conch (faint)","crackling hermitage fire (far)","low drum pulse for tension"]}
Sandhi Resolution Notes: स्वामिन्शृणु = स्वामिन् + शृणु (न् + श → ञ्श्/न्श् लेखन); पदच्छेदः: दैन्ययुक्तम् वचः प्राह क्ष्मासुरम् सः तपोधनम् | भो स्वामिन् शृणु मे वाक्यम् दयालुः इव मन्यते
FAQs
It highlights humility and courteous speech—approaching even a powerful or fearsome figure with restraint, respect, and a request to be heard.
The verse says “sa tapodhanam,” indicating a great ascetic (a ‘treasure of austerity’) is speaking, addressing Kṣmāsura directly.
In Purāṇic dialogue, respectful address can be strategic and dharmic—softening hostility and appealing to the possibility of mercy (dayā) even in an adversary.