Shloka 41
Origin of the Lunar Dynasty: Soma’s Rise, the Tārā Abduction War, Budha–Purūravas Genealogy, and Kārtavīrya Arjuna
पापग्रहस्त्वं भविता जनेषु पापोस्यलं वह्निमुखाशिनां त्वं । भार्यामिमामर्पय वाक्पतेस्त्वं प्रमाणयन्नेव मदीय वाचम्
pāpagrahastvaṃ bhavitā janeṣu pāposyalaṃ vahnimukhāśināṃ tvaṃ | bhāryāmimāmarpaya vākpatestvaṃ pramāṇayanneva madīya vācam
ท่ามกลางหมู่ชน เจ้าจักเป็นผู้ถูกบาปครอบงำ; แม้ในหมู่ผู้ถวายเครื่องบูชาแก่ปากแห่งอัคนี เจ้าก็จักเป็นผู้บาปหนา บัดนี้จงมอบภรรยานี้แก่ วากปติ เพื่อให้ถ้อยคำของเราปรากฏเป็นสัตย์จริง
Unclear from the single verse (context needed from surrounding verses in Adhyāya 12).
Concept: Adharma—especially betrayal and coercive appropriation—brands a person with pāpa; social-ritual standing (even among agnihotrins) cannot shield one from moral consequence.
Application: Do not use power to seize relationships or override consent; uphold satya and maryādā even when socially protected. Treat vows and marital bonds as sacred responsibilities, not trophies.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"A tense palace-hall or sacrificial pavilion: an enraged sage/authority figure points in condemnation while a trembling man stands accused, and a veiled woman is being symbolically ‘handed over’ under coercion. The sacred fire burns bright, casting harsh shadows, underscoring the clash between ritual piety and moral violation.","primary_figures":["cursing sage/authority figure","accused man","the wife (veiled)","Vākpati (recipient figure, dignified)","sacrificial fire (Agni)"],"setting":"yajña-śālā or royal court adjoining a fire-altar, with priests, ladles, and offering bowls","lighting_mood":"dramatic","color_palette":["fire orange","ash white","deep crimson","bronze gold","midnight black"],"tanjore_prompt":"Tanjore painting style: a yajña pavilion with a blazing Agni at center, the sage in commanding posture with gold-leaf halo, the accused man recoiling, and Vākpati standing composed; heavy gold leaf on flames and ornaments, rich red-green textiles, ornate pillars, gem-studded jewelry, high-contrast moral drama.","pahari_prompt":"Pahari miniature style: refined courtly interior with delicate flames and thin smoke; expressive gestures—raised finger of the sage, downcast eyes of the accused; cool architectural tones with a warm fire core, lyrical yet tense composition, fine textile patterns.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized Agni with curling flames, large-eyed figures; the sage’s raudra expression emphasized, red-yellow dominance with green accents, temple-wall symmetry and ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: narrative panel framed by floral borders; central fire-altar with stylized lotus motifs, figures arranged in a frieze; deep blue background with gold highlights, peacocks at corners as silent witnesses, emphasizing dharma’s judgment."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["fire crackle","sharp temple bell strikes","murmuring assembly","conch shell (single call)"]}
Sandhi Resolution Notes: त्वं→त्वम्; पापोस्यलं→पापः असि अलम्; वह्निमुखाशिनां (समास); भार्यामिमामर्पय→भार्याम् इमाम् अर्पय; वाक्पतेस्त्वं→वाक्पतेः त्वम्; प्रमाणयन्नेव→प्रमाणयन् एव; मदीय वाचम् (पदच्छेद)
FAQs
The verse names “Vākpati” as the recipient to whom the wife is to be handed over; identifying the exact figure (epithet/title vs. a specific person) requires the immediate narrative context of Adhyāya 12.
The verse frames wrongdoing as socially visible (“among people”) and karmically consequential (“seized by sin”), and it treats truthful speech as something that can be “proven” by action—suggesting accountability through deeds.
Literally “those who eat via the mouth of fire,” it points to people connected with fire-offerings (homa/yajña) or whose acts are mediated through fire; the phrase is used here rhetorically to intensify the charge of sin.