Shloka 121
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
अरुंधती वसिष्ठस्य सप्तर्षीणां च याः स्त्रियः । अनसूयात्रिपत्नी च तथान्याः प्रमदा इह
aruṃdhatī vasiṣṭhasya saptarṣīṇāṃ ca yāḥ striyaḥ | anasūyātripatnī ca tathānyāḥ pramadā iha
อรุณธตี—ชายาของวสิษฐะ—และชายาของฤๅษีทั้งเจ็ด ตลอดจนอนสูยา—ชายาของอัตริ—พร้อมสตรีผู้ประเสริฐอื่น ๆ ณ ที่นี้ (ได้กล่าวถึง)
Unspecified (narrative listing within the chapter; likely within Pulastya–Bhīṣma frame typical to Sṛṣṭikhaṇḍa, but not explicit in this single verse).
Concept: Smaraṇa (recollection) of exemplary sādhvīs and ṛṣi-patnīs establishes a template of śīla (virtue), satya, and tapas as sustaining forces in cosmic order.
Application: Keep ‘satsaṅga by memory’: regularly recall and study lives of the virtuous; cultivate fidelity, truthfulness, hospitality, and restraint in household life.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A serene hermitage tableau where Arundhatī, Anasūyā, and the other ṛṣi-patnīs sit beneath flowering trees, their faces calm with tapas and compassion. Behind them, the Seven Sages appear as luminous silhouettes, while a subtle cosmic lotus motif hints at the Sṛṣṭi-khaṇḍa’s creation setting.","primary_figures":["Arundhatī","Vasiṣṭha","Anasūyā","Atri","Saptarṣis’ wives (collective)"],"setting":"Forest āśrama with thatched huts, yajña-vedī, kusa grass seats, flowering vines, deer and birds at ease","lighting_mood":"forest dappled","color_palette":["sandalwood beige","leaf green","lotus pink","smoke gray","soft gold"],"tanjore_prompt":"Tanjore painting style: Arundhatī and Anasūyā seated in an āśrama before a small yajña-vedī, Saptarṣis behind as haloed figures; heavy gold leaf halos, rich maroon and emerald drapery, gem-studded ornaments kept austere, ornate lotus border referencing Padma Purāṇa’s creation theme.","pahari_prompt":"Pahari miniature style: quiet Himalayan-forest hermitage with delicate brushwork; Arundhatī and Anasūyā in pale garments, refined faces, soft hills and a winding stream, lyrical naturalism with birds perched on branches and a subtle lotus motif in the sky.","kerala_mural_prompt":"Kerala mural style: bold black outlines, natural pigments; ṛṣi-patnīs with characteristic large eyes and calm smiles, yajña-vedī centered, Saptarṣis as radiant presences; dominant red, yellow, green with restrained ornamentation and lotus medallions.","pichwai_prompt":"Pichwai cloth painting style: devotional border of lotuses and tulasi-like foliage framing a central āśrama scene; peacocks and cows at the edges, deep indigo background with gold detailing; the ṛṣi-patnīs portrayed as embodiments of purity, with lotus motifs echoing Padma’s cosmology."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["forest birds","soft wind through leaves","distant ritual bell","gentle silence"]}
Sandhi Resolution Notes: तथान्याः = तथा + अन्याः; अनसूयात्रिपत्नी: treated as two coordinated nouns in apposition (अनसूया + त्रिपत्नी).
FAQs
Arundhatī is presented as Vasiṣṭha’s wife and a model of marital fidelity and virtue; Anasūyā is Atri’s wife, similarly renowned for her purity and dharmic excellence.
It groups celebrated ṛṣi-families and their consorts as exemplars of dharma, indicating a lineage of sanctity and ethical conduct associated with the primal sages.
The verse highlights the ideal of steadfast virtue, self-restraint, and dharmic conduct within household life, using revered figures as cultural and moral exemplars.