Shloka 131
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
एवमुक्तस्तदा शक्रो गत्वा सर्वं धरातलं । स्त्रियो दृष्टाश्च यास्तेन सर्वाः परपरिग्रहाः
evamuktastadā śakro gatvā sarvaṃ dharātalaṃ | striyo dṛṣṭāśca yāstena sarvāḥ paraparigrahāḥ
ครั้นถูกกล่าวดังนั้นแล้ว พระศักระ (อินทรา) ก็เที่ยวไปทั่วพื้นพิภพ; และสตรีใดๆ ที่พระองค์ทอดพระเนตรเห็น ล้วนเป็นภรรยาของบุรุษอื่นทั้งสิ้น
Narrator (contextual narration about Śakra/Indra; explicit speaker not stated in this single verse)
Concept: Unrestrained desire turns even a deva’s movement into adharma when it fixates on what is ‘paraparigraha’ (belonging to another).
Application: Guard the senses (especially sight) and practice ethical boundaries; treat others’ relationships as inviolable.
Primary Rasa: bibhatsa
Secondary Rasa: bhayanaka
Type: city
Visual Art Cues: {"scene_description":"Indra, crowned and radiant yet inwardly troubled, strides across the vast earth as if surveying it from hilltops and city streets. His gaze darts toward households where married women move in ordinary domestic grace, while the atmosphere subtly darkens to show the moral shadow of covetousness.","primary_figures":["Śakra (Indra)","married women (paraparigrahāḥ)","distant householders (silhouetted)"],"setting":"A sweeping terrestrial panorama: villages, city lanes, fields, and palace courtyards stitched together like a continuous frieze.","lighting_mood":"divine radiance with creeping dusk undertone","color_palette":["storm-cloud gray","indigo blue","burnished gold","earth ochre","muted vermilion"],"tanjore_prompt":"Tanjore painting style: Indra with tall jeweled crown and vajra emblem, moving across a segmented earth-frieze of villages and palaces; gold leaf halos and ornate borders; rich reds and greens; subtle shadowing around Indra’s eyes to suggest moral agitation; gem-studded ornaments and traditional South Indian iconography.","pahari_prompt":"Pahari miniature style: Indra wandering through layered landscapes—terraced fields, small towns, palace balconies—delicate brushwork and lyrical naturalism; cool blues and soft ochres; refined faces of household women shown with modesty; Indra’s posture slightly tense, conveying inner unrest.","kerala_mural_prompt":"Kerala mural style: Bold black outlines; Indra with exaggerated expressive eyes and crown, moving through stylized earthly scenes; natural pigment palette of red/yellow/green; rhythmic repetition of domestic figures; a darkened background band to hint at adharma.","pichwai_prompt":"Pichwai cloth painting style: Narrative frieze composition with ornate floral borders; Indra as a central moving figure across earthly vignettes; lotus motifs used ironically to contrast purity with temptation; deep blues and gold accents; peacocks and temple bells in margins to evoke sacred order disturbed."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant thunder","soft temple bells","wind over plains","faint household sounds","conch shell (far)"]}
Sandhi Resolution Notes: evam uktaḥ → evamuktaḥ; dṛṣṭāḥ ca → dṛṣṭāśca; yāḥ tena → yāstena.
FAQs
It highlights the moral boundary of not desiring or approaching those who are under another’s marital protection—‘paraparigrahāḥ’ stresses that they belong to others (i.e., another’s spouse).
Śakra is a common epithet of Indra, the king of the Devas, frequently appearing in Purāṇic narratives involving tests of dharma, temptation, and cosmic order.
No. This verse is primarily narrative and ethical in tone, focusing on Indra’s observation and the notion of ‘belonging to another,’ rather than pilgrimage geography or devotional practice.