Padma Purana — Srishti Khanda, Shloka 171
Brahmā’s Puṣkara Sacrifice: Kokāmukha Tīrtha, Varāha’s Aid, and the Arrival of Gāyatrī
भवेयमपमानाच्च धिग्रूपा दुःखदायिनी । दृश्यते चक्षुषानेन यापि योषित्प्रसादतः
bhaveyamapamānācca dhigrūpā duḥkhadāyinī | dṛśyate cakṣuṣānena yāpi yoṣitprasādataḥ
Dahil sa paghamak na ito, nawa’y maging ako’y may anyong isinumpa, tagapagdulot ng dalamhati—gayong nakikita ako ng matang ito sa bisa lamang ng biyaya ng isang babae.
Uncertain (context not provided; likely a character speaking in a dialogue within Sṛṣṭi-khaṇḍa)
Concept: A mind scorched by apamāna (humiliation) turns inward into self-harm; speech born of hurt becomes a curse that multiplies duḥkha.
Application: When insulted, pause before speaking; redirect the surge of shame into prayer, service, or silence rather than self-condemnation.
Primary Rasa: karuna
Secondary Rasa: bibhatsa
Visual Art Cues: {"scene_description":"A solitary figure, eyes lowered, speaks a self-directed curse as if the words themselves become dark smoke curling around the body. In the background, a faint silhouette of a woman stands as the ‘prasāda’ through which sight and favor are mediated, while the cosmos feels distant and indifferent.","primary_figures":["Unnamed lamenting speaker","A woman as the mediator of favor (yoṣit-prasāda)"],"setting":"Twilight courtyard or palace threshold, with a reflective pool suggesting the ‘eye’ and perception; distant pillars fading into shadow.","lighting_mood":"moonlit","color_palette":["indigo black","ash gray","muted maroon","pale silver","smoky violet"],"tanjore_prompt":"Tanjore painting style: a sorrowful figure at a palace threshold, head bowed, one hand raised in a vow-like gesture; dark curling ‘curse-smoke’ rendered as stylized clouds; a secondary female figure in soft profile behind a pillar; gold leaf outlining jewelry and architectural borders, rich maroons and deep greens, gem-studded ornaments, traditional South Indian iconography with dramatic facial expression.","pahari_prompt":"Pahari miniature style: delicate, lyrical scene of a dejected speaker near a lotus pond at dusk; fine linework for tearful eyes, cool indigo sky, pale moon; a woman’s presence suggested behind a translucent curtain; minimal architecture, refined facial features, gentle gradients, poetic melancholy.","kerala_mural_prompt":"Kerala mural style: bold black outlines, expressive wide eyes filled with grief; the speaker framed by temple-like pillars; swirling dark motifs around the mouth to symbolize harsh speech; natural pigments with dominant reds, yellows, and greens subdued by smoky overlays; temple wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition with a central lamenting figure beneath an ornate floral border; lotus motifs in a darkened pond; the ‘favor of a woman’ shown as a soft haloed feminine silhouette; deep blues and gold accents, intricate vines and stylized clouds, devotional textile detailing."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["silence","soft temple bells","distant night birds"]}
Sandhi Resolution Notes: भवेयमपमानाच्च = भवेयम् + अपमानात् + च; धिग्रूपा = धिक् + रूपा; चक्षुषानेन = चक्षुषा + अनेन; यापि = या + अपि; योषित्प्रसादतः = योषित्-प्रसादतः (समास)
FAQs
It expresses shame from humiliation and a self-directed wish to become “cursed” or degraded, highlighting how wounded pride can turn into self-condemnation.
It implies that the ability to be “seen” (recognized/received) is dependent on a woman’s favor or grace, stressing reliance on another’s goodwill rather than one’s own power.
The verse cautions that reacting to insult with bitterness or self-cursing is destructive; it points toward humility and self-restraint when one’s status depends on others’ kindness.