Shloka 41
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
मूक उवाच । किं कुप्यसि वृथा विप्र न बकोहं तवाधुना । कोपस्सिद्ध्यति ते तावद्बकेनान्यत्र किंचन
mūka uvāca | kiṃ kupyasi vṛthā vipra na bakohaṃ tavādhunā | kopassiddhyati te tāvadbakenānyatra kiṃcana
คนใบ้กล่าวว่า “โอ้พราหมณ์ เหตุใดท่านจึงกริ้วโดยเปล่าประโยชน์? บัดนี้ข้ามิใช่นกกระสาสำหรับท่านแล้ว โทสะของท่านย่อมไม่สัมฤทธิ์ผลตราบนั้น; หากจะกริ้วก็จงไปกริ้วที่อื่นเถิด”
Mūka (the mute person)
Concept: Anger is futile when directed at a mistaken object; discernment and self-mastery are superior to reactive wrath.
Application: Before reacting, verify facts and motives; redirect energy from blame to right action and inner correction.
Primary Rasa: hasya
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A composed ‘mute’ figure speaks with startling eloquence, raising a hand in gentle admonition while the brāhmaṇa’s anger falters. A faint, symbolic crane silhouette dissolves into the background, hinting at past identity and karmic transformation.","primary_figures":["Mūka (the mute, speaking)","Brāhmaṇa (checked in anger)","Symbolic crane (bakā) motif"],"setting":"A shaded courtyard edge or roadside rest spot with a small water vessel and travel cloth; minimal props to emphasize dialogue.","lighting_mood":"golden dawn","color_palette":["pale sandalwood","smoky blue","soft white","vermillion","olive green"],"tanjore_prompt":"Tanjore painting style: central figure of the Mūka with serene face and raised palm of instruction, brāhmaṇa beside him with softened fury; gold leaf highlights on speech-scroll motifs and a dissolving crane emblem behind them; rich reds/greens, embossed aureoles, traditional ornamentation, ornate border with subtle śaṅkha-cakra patterns.","pahari_prompt":"Pahari miniature style: intimate conversational scene under a tree; delicate lines show the Mūka’s calm smile and the brāhmaṇa’s startled pause; a translucent crane silhouette in the sky; cool mountain-like palette, lyrical naturalism, refined expressions.","kerala_mural_prompt":"Kerala mural style: bold outlines, expressive eyes—Mūka in tranquil posture, brāhmaṇa with tense shoulders; stylized crane motif fading into the background; natural pigments with red/yellow/green dominance, temple-wall composition bands.","pichwai_prompt":"Pichwai cloth painting style: dialogue framed by lotus creepers; central figures on a patterned ground; decorative crane motifs woven into the border as karmic symbol; deep indigo background with gold and white floral detailing, Nathdwara-like textile richness."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["light birdsong","rustle of leaves","a single temple bell in distance","brief amused cadence in voice"]}
Sandhi Resolution Notes: बकोहं = बकः + अहम्; तवाधुना = तव + अधुना; कोपस्सिद्ध्यति = कोपः + सिद्ध्यति; तावद्बकेन = तावत् + बकेन; बकेनान्यत्र = बकेन + अन्यत्र; किञ्चन = किम् + चन (indefinite)
FAQs
It cautions against misplaced anger—rage aimed at the wrong target becomes futile and ethically misguided.
The statement implies a mistaken identification or a change in circumstance: the brāhmaṇa’s anger is being directed at someone who is not (or is no longer) the supposed offender.
Before reacting, verify facts and responsibility; otherwise anger becomes purposeless, harms relationships, and obstructs discernment (viveka).