Shloka 164
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
ब्रह्माणं ब्राह्मणांश्चैव सर्वांस्तानाशपद्रुषा । शापं दत्वा तथा तेषां निष्क्रांता सदसस्तथा
brahmāṇaṃ brāhmaṇāṃścaiva sarvāṃstānāśapadruṣā | śāpaṃ datvā tathā teṣāṃ niṣkrāṃtā sadasastathā
ด้วยความพิโรธ นางได้สาปพระพรหมาและพราหมณ์ทั้งปวงนั้น ครั้นประทานคำสาปแก่พวกเขาแล้ว นางก็ออกจากสภาไปฉันนั้น
Narrator (contextual; the verse describes a woman departing after cursing)
Concept: Words spoken with tapas/authority can bind; anger-driven pronouncements create irreversible consequences—hence the need for restraint and righteousness in counsel.
Application: Before speaking in anger, pause; recognize the lasting impact of speech on communities and relationships; seek reconciliation after conflict.
Primary Rasa: raudra
Secondary Rasa: shanta
Type: temple
Visual Art Cues: {"scene_description":"Inside a grand assembly hall, Sāvitrī stands at the threshold, her anger still visible like a red aura, while Brahmā and the brāhmaṇas sit stunned in silence. As she exits, the hall’s lamps flicker and the air feels heavier—an aftermath where destiny has been spoken.","primary_figures":["Sāvitrī","Brahmā","Brāhmaṇas/ṛtvijas","Assembly attendants"],"setting":"Ornate sabhā with pillars, ritual seats, lamps, and a wide doorway opening to the outside","lighting_mood":"lamp-lit interior with fading fiery glow as she departs","color_palette":["burnt sienna","antique gold","shadow brown","ivory","deep maroon"],"tanjore_prompt":"Tanjore painting style: Brahmā seated on a decorated throne with gold-leaf embellishments, brāhmaṇas in rows, Sāvitrī mid-stride leaving the sabhā; embossed gold on pillars and lamps, rich reds/greens, dramatic gesture language, ornate border framing the moment of irrevocable departure.","pahari_prompt":"Pahari miniature style: elegant court-like sabhā with delicate pillars; Sāvitrī at the doorway, flowing garments, expressive faces of the seated assembly; soft interior light and a cool exterior beyond the threshold, refined detailing and lyrical composition.","kerala_mural_prompt":"Kerala mural style: frontal iconic figures, bold outlines; Sāvitrī emphasized with a strong aura, Brahmā and priests arranged symmetrically; warm reds and yellows dominate, with green accents and patterned borders like temple murals.","pichwai_prompt":"Pichwai cloth painting style: decorative sabhā framed by floral and lotus borders; lamps as repeating motifs; Sāvitrī’s exit stylized as a central narrative gesture, deep maroon and blue ground with gold highlights, textile-like intricacy."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["fading footsteps","lamp flame hiss","assembly hush","single bell strike","soft wind at doorway"]}
Sandhi Resolution Notes: ब्राह्मणांश्चैव = ब्राह्मणान् + च + एव; सर्वांस्तानाशपद्रुषा = सर्वान् + तान् + आशापद्रुषा; निष्क्रांता = निस् + क्रांता (क्रम्-धातोः क्त); सदसस्तथा = सदसः + तथा
FAQs
The verse explicitly states that Brahmā and the brāhmaṇas present are cursed.
After delivering the curse, the woman described in the verse departs from the assembly (sadas).
It underscores how wrath can drive consequential speech and actions, especially in sacred or formal settings, highlighting the importance of restraint and dharmic conduct.