Padma Purana — Bhumi Khanda, Shloka 23
Marks of the Debt-Bound/Enemy Son, Filial Dharma, Detachment, and the Durvāsā–Dharma Episode
ददाति नैव गृह्णाति न च कुप्यति तुष्यति । नो वा ददाति संत्यज्य उदासीनो द्विजोत्तम
dadāti naiva gṛhṇāti na ca kupyati tuṣyati | no vā dadāti saṃtyajya udāsīno dvijottama
وہ نہ دیتا ہے نہ لیتا؛ نہ غضبناک ہوتا ہے نہ خوش۔ سب کچھ ترک کر کے نہ دیتا ہے نہ روکتا—اے بہترین دِویج، یہی ہے بے تعلق و ویراغی۔
Unspecified (context needed to identify the dialogue speaker reliably)
Concept: True detachment is marked by freedom from transactional impulses (giving/receiving) and from emotional reactivity (anger/pleasure).
Application: Reduce tit-for-tat expectations; give without keeping score, receive without entitlement, and observe emotions without being driven by them.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A detached brāhmaṇa sits unmoving as villagers offer gifts and others attempt to provoke him; his face remains serene, neither accepting nor rejecting. Around him, symbolic pairs—garlands and thorns, praise and blame—float like mirages, dissolving before touching him.","primary_figures":["udāsīna brāhmaṇa (dvijottama)","villagers offering gifts","a provocateur figure (symbolic)"],"setting":"edge of a village near a banyan tree; a simple mat, water pot, and staff; onlookers at a respectful distance","lighting_mood":"forest dappled","color_palette":["banyan green","earth brown","ivory","smoke grey","muted saffron"],"tanjore_prompt":"Tanjore painting style: dvijottama seated in serene stillness under a banyan, villagers with offerings halted mid-gesture, gold leaf halo emphasizing equanimity, ornate yet restrained detailing, rich saffron and green textiles with embossed gold accents.","pahari_prompt":"Pahari miniature style: delicate scene under a banyan with refined expressions, subtle narrative of praise/blame figures, cool shadows and gentle light, lyrical composition showing dualities dissolving into the air.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized banyan and figures, the brāhmaṇa’s large calm eyes, symbolic garland/thorn motifs, earthy pigments with strong compositional symmetry.","pichwai_prompt":"Pichwai cloth painting style: central serene figure framed by lotus and floral borders, duality motifs (garland/thorn, sweet/bitter) arranged decoratively, deep blue-green ground with gold highlights, intricate textile patterns."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","murmurs of crowd","sudden hush","single conch note held softly"]}
Sandhi Resolution Notes: na + eva → naiva; no (naḥ/na) + vā → no vā (न + वा); अन्यत्र सन्धि न्यून।
FAQs
It describes the ideal of udāsīnatā—equanimous detachment—where one is beyond attachment to giving/receiving and beyond emotional reactivity such as anger or delight.
Not necessarily. It highlights inner non-attachment and freedom from craving or aversion; in many Dharma contexts, outward action may continue, but without egoistic clinging to outcomes.
Cultivate steadiness of mind: do not be ruled by gain/loss, praise/blame, or emotional swings; renunciation is portrayed as inner freedom rather than mere external behavior.