Shloka 54
The Origin of the Lauhitya River
and the King of Tīrthas
कामाज्जातं वृषं पापं पुण्यं पुण्यप्रयोगतः । स जातश्चैव लौहित्यो विरंचेश्चैव चौरसः
kāmājjātaṃ vṛṣaṃ pāpaṃ puṇyaṃ puṇyaprayogataḥ | sa jātaścaiva lauhityo viraṃceścaiva caurasaḥ
ด้วยกามตัณหา จึงบังเกิดโคผู้เป็นบาป; ด้วยการประกอบบุญ จึงบังเกิดบุญเอง. เขาบังเกิดเป็น “เลาหิตยะ” และเป็นโอรสของวิรัญจิ (พรหมา) มีรูปกายได้สัดส่วนมั่นคง.
Unspecified (narrative voice within Sṛṣṭikhaṇḍa context; exact dialogue speaker not provided in the input)
Concept: Desire can generate pāpa (sin) while deliberate puṇya-prayoga generates puṇya—causality is moral and psychological, not random.
Application: Track inputs: feed desire and it breeds harmful habits; feed merit (service, truthfulness, restraint) and it reproduces itself as character.
Primary Rasa: adbhuta
Secondary Rasa: bhayanaka
Type: river
Visual Art Cues: {"scene_description":"A symbolic tableau shows a dark bull emerging from a swirling red-black aura labeled as kāma’s offspring, while on the opposite side a luminous, well-proportioned figure arises from a golden ritual-fire of puṇya-prayoga. Behind them flows the Lauhitya river like a copper ribbon, and Brahmā (Virāñca) presides as the cosmic registrar of births.","primary_figures":["Brahmā (Virāñca)","symbolic sinful bull (vṛṣa)","Lauhitya personified (river-deity)","luminous merit-born figure (caturas/‘well-proportioned’)"],"setting":"Mythic riverbank with cosmic register motifs—lotus-throne for Brahmā, river flowing through a creation-era landscape","lighting_mood":"high-contrast chiaroscuro (light vs shadow)","color_palette":["copper red","smoldering black","ritual gold","river teal","ash white"],"tanjore_prompt":"Tanjore painting style: Brahmā on lotus with gold-leaf aura, Lauhitya river as a copper-toned band with ornate wave patterns, a dark bull emerging from shadowy kāma-clouds, a radiant figure rising from a golden yajña-flame, heavy gold embellishment, rich reds/greens, symmetrical moral contrast composition.","pahari_prompt":"Pahari miniature style: Riverbank scene with delicate Brahmā on lotus, subtle symbolic bull in darker wash, luminous figure near a small fire-altar, refined linework, cool landscape with copper river highlights, gentle allegorical mood.","kerala_mural_prompt":"Kerala mural style: Bold outlined Brahmā, stylized river as patterned band, bull rendered in deep tones, merit-figure in bright yellow/white, temple-wall allegory with strong red/yellow/green palette and ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: Central lotus-throned Brahmā framed by floral borders, Lauhitya as patterned flowing ribbon, contrasting motifs—dark bull amid thorny vines vs bright lotus clusters around the merit-figure, deep blues and gold with copper accents, intricate textile detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairav","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drum (mridang)","tanpura drone","river ambience","occasional bell","wind"]}
Sandhi Resolution Notes: कामाज्जातं = कामात् + जातम्; जातश्चैव = जातः + च + एव; विरंचेश्चैव = विरञ्चेः + च + एव.
FAQs
It contrasts outcomes born from kāma (desire), associated here with pāpa (sin/impurity), with outcomes born from puṇya-prayoga (the active practice of virtue), emphasizing ethical causality.
Virāñca is a well-known epithet for Brahmā in Purāṇic Sanskrit; “virāñceś caurasaḥ” indicates a connection as his offspring (or belonging to him) and describes a well-proportioned form.
This verse is primarily ethical-cosmic (creation/causality): it frames how desire and virtuous practice generate different results; it is not explicitly a bhakti instruction in its wording.