Shloka 88
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
यस्माद्यूयं त्रिभिर्भागैः सभायां बाह्यतः स्थिताः । तस्मादामूलिको गुल्मो ह्येको भवतु वो द्विजाः
yasmādyūyaṃ tribhirbhāgaiḥ sabhāyāṃ bāhyataḥ sthitāḥ | tasmādāmūliko gulmo hyeko bhavatu vo dvijāḥ
เพราะพวกท่าน โอ้ทวิชะ ได้ยืนอยู่นอกสภาเป็นสามหมู่ ดังนั้นจงมีพุ่มไม้เพียงกอเดียวสำหรับท่าน—ถูกถอนขึ้นทั้งราก ไร้รากเถิด
Unspecified (narrative context not provided in the input)
Concept: Factionalism and externalism lead to spiritual ‘uprooting’; unity and inner qualification, not mere group identity, grant entry into sacred discourse.
Application: Avoid forming identity-based cliques; cultivate a single ‘root’—steady practice and humility—so learning does not become performative.
Primary Rasa: raudra
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Three clusters of brāhmaṇas stand outside a grand hall, their separation emphasized by empty space between them. A sudden decree manifests as a single uprooted clump of vegetation—tangled stems and leaves—lying at their feet, a visual metaphor for severed dharmic roots and forced unity through consequence.","primary_figures":["brāhmaṇas (three groups)","a commanding authority figure (Brahmā or an officiant)","the manifested uprooted plant-clump (gulmā)"],"setting":"threshold of a celestial assembly hall—steps, doorway, and boundary line clearly visible","lighting_mood":"storm-charged","color_palette":["dry earth brown","leaf green","ashen white","iron gray","warning red"],"tanjore_prompt":"Tanjore painting style: ornate golden doorway of the sabhā with embossed gold leaf; three groups of brāhmaṇas positioned outside in triangular composition; at center foreground an uprooted clump of plants with exposed roots absent (stylized as torn ends), highlighted with gold accents; intense expressions, rich maroon and green textiles, dramatic contrast and decorative borders.","pahari_prompt":"Pahari miniature style: palace threshold with delicate architecture; three separated groups in calm but tense poses; the uprooted plant-clump painted with fine botanical detail, lying as a moral emblem; cool grays and muted greens, subtle drama without excess ornament.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized doorway and boundary; three groups rendered with rhythmic spacing; central gulmā as a graphic motif—tangled green mass with severed base; red-yellow accents to convey the force of decree, temple narrative panel framing.","pichwai_prompt":"Pichwai cloth painting style: symmetrical border of vines and lotuses; central motif of a tangled plant-clump beneath an ornate arch; three groups of figures placed around it like a mandala of discord; deep indigo background with gold highlights, floral borders turning the moral lesson into a devotional textile tableau."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["thunder-like mridangam stroke","sharp bell strike","wind rush at a doorway","collective gasp","sudden silence"]}
Sandhi Resolution Notes: यस्माद्यूयं = यस्मात् + यूयम्; त्रिभिर्भागैः = त्रिभिः + भागैः; तस्मादामूलिको = तस्मात् + आमूलिकः; ह्येको = हि + एकः; वो = वः (enclitic).
FAQs
It gives a cause-and-effect statement: because certain dvijas stood outside an assembly in three groups, they are assigned (or become associated with) a single “rootless” gulma (a clump/thicket), suggesting an etiological or punitive explanation.
Āmūlika means “without roots” or “uprooted,” and gulma means a shrub-clump or thicket; together it denotes a rootless/uprooted clump of vegetation.
From the single-verse input alone, the speaker cannot be identified with certainty; the surrounding verses of Adhyaya 17 are needed to attribute it to a specific narrator or dialogue pair.