Padma Purana — Bhumi Khanda, Shloka 27
The Vena Episode and the Sukalā Narrative: The Speaking Sow, Pulastya’s Curse, and Indra’s Appeal
गीतेन देवताः सर्वास्तोषमायांति नान्यथा । तदेवं निन्दसे गीतं मामेवं परिचालयेः
gītena devatāḥ sarvāstoṣamāyāṃti nānyathā | tadevaṃ nindase gītaṃ māmevaṃ paricālayeḥ
مقدّس گیت سے سب دیوتا خوش ہوتے ہیں—اس کے سوا کسی طریقے سے نہیں۔ پھر بھی تم گیت کی نِندا کرتے ہو؛ مجھے یوں نہ ستاؤ، نہ ایسا سلوک کرو۔
Unspecified (context needed from surrounding verses in Bhūmi-khaṇḍa 46)
Concept: Sacred singing is a privileged means to please the deities; disparaging it is a spiritual and social offense—honor devotional practices and their practitioners.
Application: Avoid mocking others’ devotional forms; if you disagree, respond with humility. Protect your own practice from cynicism by remembering its purpose: offering and transformation.
Primary Rasa: raudra
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A devoted singer stands firm, eyes bright with conviction, confronting a skeptic who gestures dismissively. Behind the singer, faint silhouettes of devas glow approvingly, while the skeptic’s shadowed posture suggests ignorance dissolving as the music rises like a protective aura.","primary_figures":["devotional singer (defending gīta)","skeptical interlocutor","celestial devas (subtle approval)"],"setting":"Courtyard outside a shrine; a small raised platform for singing; onlookers paused mid-step, listening.","lighting_mood":"forest dappled","color_palette":["sunlit gold","shadow umber","crimson","indigo","pale jasmine"],"tanjore_prompt":"Tanjore painting style: singer in assertive yet devotional stance holding cymbals, skeptic turned slightly away, devas in gold-leaf cloud band, ornate shrine arch, rich reds and greens, embossed gold aura around the sound, traditional iconographic symmetry.","pahari_prompt":"Pahari miniature style: dramatic interpersonal moment in a courtyard, subtle expressions—hurt dignity and firm devotion, devas faint in the sky, delicate brushwork, warm-gold light filtering through trees, refined textiles and gestures.","kerala_mural_prompt":"Kerala mural style: frontal singer with emphatic hand gesture, skeptic in profile, devas in stylized cloud forms, bold outlines, red-yellow-green palette, rhythmic border patterns suggesting musical cadence.","pichwai_prompt":"Pichwai cloth painting style: central kīrtana scene with contrasting figures (devotee and skeptic), surrounding floral borders and lotus motifs, deep blue background with gold highlights, peacocks at corners, subtle śaṅkha-cakra motifs indicating divine approval."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["sharp tāla cymbals","mridangam accents","brief conch call","crowd hush","wind through leaves"]}
Sandhi Resolution Notes: सर्वास्तोषमायांति = सर्वाः + तोषम् + आयान्ति; नान्यथा = न + अन्यथा; तदेवं = तत् + एवम्; मामेवं = माम् + एवम्।
FAQs
It states that gīta (devotional singing) is a direct means to please all devatās, emphasizing devotion expressed through sound and praise.
Yes. It frames singing as an effective devotional practice (akin to stotra/kīrtana), presenting it as uniquely pleasing to the gods.
The speaker objects to contempt for devotional practice and asks for respectful conduct—implying that sincere worship and respectful speech/behavior should not be mocked.