Brahmā’s Discourse to Mohinī
Harivāsara, Desire, and the Satya-Test of Rukmāṅgada
धिक्तस्य मूढमनसः कुकवेः कवित्वं यः स्त्रीमुखं च शशिनं च समीकरोति । भ्रूक्षेपविस्मितकटाक्षनिरीक्षनिरीक्षितानि कोपप्रसादहसितानि कुतः शशांके ॥ ३९ ॥
dhiktasya mūḍhamanasaḥ kukaveḥ kavitvaṃ yaḥ strīmukhaṃ ca śaśinaṃ ca samīkaroti | bhrūkṣepavismitakaṭākṣanirīkṣanirīkṣitāni kopaprasādahasitāni kutaḥ śaśāṃke || 39 ||
افسوس ہے اُس کند ذہن بد شاعر کی شاعری پر جو عورت کے چہرے کو چاند کے برابر ٹھہراتا ہے۔ اے ششاںک (چاند)! تجھ میں کہاں ہیں وہ بھنوؤں کے اشارے، وہ حیرت بھرے ترچھے کٹاکش، بار بار دیکھے جانے والے نگاہی انداز، اور غصہ، عنایت، ہنسی کے وہ رنگ؟
Narada (contextual attribution within Narada Purana dialogue tradition)
Vrata: none
Rasa: {"primary_rasa":"hasya","secondary_rasa":"raudra","emotional_journey":"Begins with scornful condemnation of clichéd poetry, then pivots into witty praise-by-contrast: the Moon lacks the living expressions found in a woman’s face."}
It teaches viveka (discernment) in speech and praise: superficial comparisons are criticized, and one is urged to recognize true qualities rather than repeating conventional flattery.
Indirectly, it refines devotional expression by warning against careless, clichéd praise; bhakti is strengthened when words are truthful, attentive, and aligned with real attributes rather than empty metaphor.
A practical takeaway relates to Vyākaraṇa and Nirukta-informed precision in meaning: the verse models careful semantic discrimination and rhetorical correctness (upamā-doṣa avoidance) in Sanskrit expression.