Shloka 110
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
राक्षस्यः पितृकन्याश्च तथान्या लोकमातरः । वधूभिः सस्नुषाभिश्च सावित्री गंतुमिच्छति
rākṣasyaḥ pitṛkanyāśca tathānyā lokamātaraḥ | vadhūbhiḥ sasnuṣābhiśca sāvitrī gaṃtumicchati
راکْشسی عورتیں، پِتروں کی بیٹیاں اور دیگر ‘عالموں کی مائیں’—اپنی بہوؤں اور پوتی بہوؤں سمیت—ساوتری آگے روانہ ہونے کی خواہش کرتی ہے۔
Narrator (context not specified in the provided excerpt; speaker cannot be conclusively identified from this single verse alone)
Concept: All strata of beings participate in cosmic order through collective, family-linked ritual movement and service.
Application: Honor elders and maternal figures; include family/community in worship and service; see social diversity as compatible with sacred purpose.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A vast celestial courtyard fills with diverse feminine lineages—Rākṣasī women, Pitṛ-daughters, and radiant lokamātṛs—moving as a single, purposeful procession. They are accompanied by daughters-in-law and granddaughters-in-law, their ornaments and garments differing by realm, yet harmonized by shared intent as Sāvitrī leads them forward.","primary_figures":["Sāvitrī","Rākṣasī women","Pitṛ-kanyās","Lokamātṛs","daughters-in-law","granddaughters-in-law"],"setting":"Mythic creation-era mandapa/celestial courtyard with lotus motifs and ritual pathways, banners, and offering trays","lighting_mood":"divine radiance","color_palette":["lotus pink","saffron gold","deep maroon","smoky indigo","pearl white"],"tanjore_prompt":"Tanjore painting style: Sāvitrī leading a grand procession of lokamātṛs, Pitṛ-kanyās, and Rākṣasī women with daughters-in-law and granddaughters-in-law, all carrying small ritual items; ornate archways and lotus pillars; heavy gold leaf halos, rich reds and greens, gem-studded jewelry, traditional South Indian iconography, embossed gold detailing on garments and crowns.","pahari_prompt":"Pahari miniature style: a lyrical procession of celestial women of varied lineages following Sāvitrī across a palace terrace; delicate brushwork, refined faces, translucent veils, cool twilight palette with Himalayan-like distant ridges, patterned carpets, subtle floral borders, gentle narrative naturalism.","kerala_mural_prompt":"Kerala mural style: Sāvitrī at center with large expressive eyes, bold black outlines; surrounding groups of women differentiated by costume and complexion; temple-mandapa backdrop with lotus medallions; natural pigments, dominant reds/yellows/greens, rhythmic symmetry and sacred geometry.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial march of divine mothers around a central lotus emblem, Sāvitrī guiding them; intricate floral borders, lotus vines, peacocks at the edges, deep blues and gold; stylized figures arranged in concentric procession like a ritual pradakṣiṇā motif."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","conch shell in distance","anklet chimes","murmur of a gathering","ritual drums (mṛdaṅga) low"]}
Sandhi Resolution Notes: pitṛkanyāḥ + ca -> pitṛkanyāśca (Visarga -> ś); tathā + anyāḥ -> tathānyā (Savarna Dirgha); sasnuṣābhiḥ + ca -> sasnuṣābhiśca (Visarga -> ś); gantum + icchati -> gaṃtumicchati (Anusvara assimilation)
FAQs
The term ‘lokamātaraḥ’ is a reverential collective for maternal, world-sustaining female beings. In Purāṇic usage it can denote groups of divine or semi-divine mothers associated with protection, fertility, and cosmic order; the verse presents them as accompanying Sāvitrī.
It portrays Sāvitrī as a central, mobile figure around whom multiple classes of female beings gather, suggesting her influence and leadership within the creation-oriented narrative flow of the Sṛṣṭikhaṇḍa.
Yes. The inclusion of vadhūs (daughters-in-law) and snuṣās (women related by marriage across generations) reflects a Purāṇic emphasis on social continuity and lineage networks—showing communal participation rather than isolated individual action.