Shloka 57
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
अपरे पांसुभिः सिञ्चन्त्युन्मत्तं तं तथा द्विजाः । लोष्टैश्च लगुडैश्चान्ये शुष्मिणो बलगर्विताः
apare pāṃsubhiḥ siñcantyunmattaṃ taṃ tathā dvijāḥ | loṣṭaiśca laguḍaiścānye śuṣmiṇo balagarvitāḥ
ทวิชบางพวกโปรยฝุ่นใส่ชายผู้คลุ้มคลั่งนั้น; ส่วนอีกพวกหนึ่งผู้เดือดดาลและทะนงในกำลัง ก็ทุบตีด้วยก้อนดินและไม้เท้า
Narrator (contextual; specific dialogue speaker not provided in the excerpt)
Concept: Pride of birth and strength (jāti-mada, bala-garva) corrupts dharma; harming an apparent ‘madman’ is still violence and can be grave offense if he is a mahātmā.
Application: Restrain anger; do not join collective bullying; protect those who are mocked or vulnerable, especially in religious spaces.
Primary Rasa: raudra
Secondary Rasa: karuna
Type: celestial_realm
Visual Art Cues: {"scene_description":"A ring of agitated brāhmaṇas surrounds the ash-smeared ascetic; dust is flung into the air like a choking cloud. In the foreground, clods and sticks are raised mid-swing, while the ascetic’s stillness and faint aura create a tense contrast—violence against serenity.","primary_figures":["Maheśvara (Śiva) in madman guise","aggressive brāhmaṇas (dvijas)"],"setting":"Open courtyard beside the yajña-vedi; scattered kusa grass, overturned ritual items, dust cloud","lighting_mood":"harsh, high-contrast light cutting through dust","color_palette":["ochre dust","ash white","blood red accents","dark umber","smoky violet"],"tanjore_prompt":"Tanjore painting style: dramatic tableau with embossed gold on ritual implements; dust cloud rendered with textured paint; brāhmaṇas in white garments with angry gestures; the ascetic ash-toned with a subtle gold halo, rich border patterns emphasizing moral tension.","pahari_prompt":"Pahari miniature style: dynamic diagonal composition—raised sticks and flying dust; delicate yet intense facial expressions; muted earth palette with a calm luminous center around the ascetic.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized motion; dust as swirling ochre bands; brāhmaṇas with exaggerated fierce eyes; Maheśvara calm, ash-white body, jata emphasized, aura in concentric warm tones.","pichwai_prompt":"Pichwai cloth painting style: narrative panel with ornate border; stylized dust motifs like floral spirals turned chaotic; central serene ascetic contrasted with patterned, rhythmic but aggressive figures; deep blues and gold used sparingly to hint divinity amid earth tones."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["thudding sticks","gritty dust gusts","angry shouts","fire crackle in distance"]}
Sandhi Resolution Notes: सिञ्चन्त्युन्मत्तं = सिञ्चन्ति + उन्मत्तम्; लोष्टैश्च = लोष्टैः + च; लगुडैश्चान्ये = लगुडैः + च + अन्ये
FAQs
It criticizes mob cruelty and the arrogance of physical power, showing how pride and anger can lead people to humiliate and harm a vulnerable person.
Dvijāḥ literally means “twice-born,” commonly referring to the traditionally initiated classes (especially Brahmins), highlighting that even socially respected people can act harshly when driven by anger or contempt.
While Sṛṣṭikhaṇḍa often contains cosmology and sacred narratives, it also embeds moral instruction; this verse functions as a cautionary depiction of adharma (unrighteous conduct) within a narrative scene.