Shloka 16
The Origin and Worship of Bhauma
Mars/Lohitāṅga
स्वदारान्परयोषां च नापश्यद्विचिकित्सया । ततो मायाप्रयुक्तोसौ त्रैलोक्यं विचचार ह
svadārānparayoṣāṃ ca nāpaśyadvicikitsayā | tato māyāprayuktosau trailokyaṃ vicacāra ha
ด้วยความสงสัย เขามิอาจแยกแยะภรรยาของตนกับภรรยาผู้อื่นได้ ครั้นแล้วถูกมายาผลักดัน เขาจึงพเนจรไปทั่วไตรโลก
Narrator (context not provided to identify a specific dialogue speaker)
Concept: When discernment collapses, even basic moral distinctions fail; māyā then drives one into restless saṃsāric wandering.
Application: Strengthen boundaries and clarity: avoid situations that blur ethical lines; practice daily self-audit, seek counsel, and adopt stabilizing sādhana (japa, ekādaśī discipline, sat-saṅga).
Primary Rasa: bhayanaka
Secondary Rasa: karuna
Type: celestial_realm
Visual Art Cues: {"scene_description":"A bewildered figure stands between two nearly identical women—one symbolizing his own spouse, the other another’s—yet his eyes cannot distinguish, clouded by Vicikitsā. The scene expands into a panoramic triptych of the three worlds—earth, mid-air, and heaven—through which he wanders under Māyā’s veil, footsteps leaving no stable path.","primary_figures":["the bewildered being","symbolic figures of ‘own wife’ and ‘another’s wife’","Māyā (as a veiling presence)","optional: devas watching from afar"],"setting":"A shifting cosmic panorama: city streets, forest edges, aerial pathways, and celestial terraces blending like a mirage.","lighting_mood":"forest dappled turning into surreal twilight","color_palette":["dusty gold","shadow green","slate blue","mist white","wine red"],"tanjore_prompt":"Tanjore painting style: central figure with gold-embossed swirling veil of Māyā around the head; two feminine figures mirrored on either side; background divided into three registers showing bhū-loka, bhuvar-loka, svar-loka with ornate gold borders; rich jewel tones and heavy ornamentation to emphasize deceptive splendor.","pahari_prompt":"Pahari miniature style: elegant tripartite landscape with delicate transitions; the wanderer moving across terraces and forests; subtle facial expression of confusion; cool blues and greens with soft gold highlights, lyrical clouds and fine detailing.","kerala_mural_prompt":"Kerala mural style: stylized three-tier cosmos, bold outlines; Māyā as a large veil motif; mirrored women figures; strong primary colors with yellow-red-green dominance, temple mural symmetry.","pichwai_prompt":"Pichwai cloth painting style: three horizontal bands of worlds framed by lotus borders; central wanderer repeated in each band to show roaming; intricate floral filigree, deep blue ground, white patterns suggesting illusion, red accents for desire."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["echoing footsteps","wind through trees","distant conch","soft ominous drone"]}
Sandhi Resolution Notes: svadārānparayoṣām = sva-dārān + para-yoṣām; nāpaśyat = na + apaśyat; apaśyadvicikitsayā = apaśyat + vicikitsayā; māyāprayukto'sau = māyā-prayuktaḥ + asau.
FAQs
It warns that doubt and delusion (vicikitsā and māyā) can destroy moral discernment, leading a person to confusion and wandering—both ethically and spiritually.
By showing the inability to distinguish “one’s own” from “another’s,” it highlights how loss of discrimination undermines marital ethics and broader dharmic boundaries.
Māyā is presented as the force that propels a person into भ्रम (confusion), causing misperception and instability—symbolized by roaming through the three worlds.