Shloka 159
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
नीयमाना तु सा तेन क्रोशंती पितृमातरौ । हा तात मातर्हा भ्रातर्नयत्येष नरो बलात्
nīyamānā tu sā tena krośaṃtī pitṛmātarau | hā tāta mātarhā bhrātarnayatyeṣa naro balāt
แต่เมื่อนางถูกเขาพาไป นางก็ร้องไห้เรียกบิดามารดา: “โอ้พ่อ! โอ้แม่! โอ้พี่ชาย! ชายผู้นี้กำลังพาข้าไปด้วยกำลัง!”
Narrator (third-person narration within the Sṛṣṭikhaṇḍa storyline; specific dialogue-frame speaker not explicit in this single verse).
Concept: Consent and protection of the vulnerable are central to dharma; a cry for help is itself a moral testimony against coercion.
Application: Take cries for help seriously; intervene ethically; cultivate communities where the vulnerable can seek protection without fear or shame.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"The maiden is pulled forward, her arm stretched, hair loosened, and eyes brimming as she cries out—‘Father! Mother! Brother!’—toward a fading village behind her. Indra’s grip is unyielding, and the space around them feels torn between home’s safety and the cold authority of power.","primary_figures":["Maiden (crying out)","Śakra (Indra)","Distant silhouettes of parents/brother"],"setting":"Edge of a village path transitioning into a bright, unsettling celestial roadway; household figures appear small and powerless in the background.","lighting_mood":"moonlit","color_palette":["ashen blue","silver white","blood vermillion","dust brown","pale gold"],"tanjore_prompt":"Tanjore painting style: dramatic abduction moment—maiden crying with uplifted free hand, Indra pulling her forward—gold-leaf highlights intensifying the tension, ornate yet severe celestial motifs, expressive eyes, rich reds and deep blues, embossed borders conveying urgency.","pahari_prompt":"Pahari miniature style: poignant karuṇa scene with delicate tearful expression, subtle motion in garments, distant family figures near a doorway, cool night tones with a thin band of gold light ahead, refined emotional storytelling through posture and gaze.","kerala_mural_prompt":"Kerala mural style: bold outlines and heightened facial emotion—wide eyes, open mouth cry—Indra’s firm stance, stylized village silhouettes, strong contrast palette, temple-mural gravity emphasizing dharma violation.","pichwai_prompt":"Pichwai cloth painting style: narrative panel framed by lotus and vine borders, deep indigo ground, the maiden’s cry central, symbolic motifs (broken garland, scattered flowers) indicating distress, gold accents around the path leading away from home."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["wailing cry","wind gust","distant cowbells fading","sudden silence"]}
Sandhi Resolution Notes: क्रोशंती = क्रोशन्ती (anusvāra for n before ś); मातर्हा = मातर् + हा; भ्रातर्नयति = भ्रातर् + नयति; नयत्येष = नयति + एषः.
FAQs
The verse is narrated in the third person; it reports the woman’s cry while being taken away. The broader chapter may have a dialogue frame, but this single shloka itself does not name a specific speaker like Pulastya or Mahadeva.
It depicts an act of coercion (“balāt,” by force) and the victim’s public appeal to family, highlighting that forceful taking is adharma and socially condemnable.
Not directly. This shloka functions as narrative and moral context within Sṛṣṭikhaṇḍa; it does not mention sacred geography, deities, or devotional practice in this line.