Shloka 96
The Destruction of Dakṣa’s Sacrifice
संप्राप्तयौवना देवी पुनरेव विवाहिता । एवं हि कथितं भीष्म यथा यज्ञो हतः पुरा
saṃprāptayauvanā devī punareva vivāhitā | evaṃ hi kathitaṃ bhīṣma yathā yajño hataḥ purā
جب دیوی نے شباب پایا تو وہ پھر سے بیاہی گئی۔ یوں، اے بھیشم، یہ روایت بیان کی گئی ہے—جیسے قدیم زمانے میں یَجْنَہ (قربانی) تباہ کر دیا گیا تھا۔
Pulastya (narrator) addressing Bhīṣma
Concept: Ritual and social sacraments (like vivāha) are not merely personal—they affect cosmic order; when dharma is violated, yajña (the sustaining rite) can be ‘destroyed’.
Application: Treat commitments and rites with integrity; avoid performative religiosity that neglects ethics. Repair broken vows through humility, restitution, and renewed sādhana.
Primary Rasa: adbhuta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A youthful goddess, newly radiant, stands adorned for a second marriage while elders and sages look on with mixed relief and unease. In the background, a sacrificial altar smolders—its fire dimmed or scattered—hinting at the remembered catastrophe of a ruined yajña, as if history threatens to repeat itself.","primary_figures":["A youthful goddess (unnamed)","Sages/priests","Witnessing elders (including a Bhishma-like listener figure in narrative imagination)"],"setting":"Ritual pavilion near a yajña-vedi with garlands, vessels, and a partially disrupted fire altar","lighting_mood":"temple lamp-lit","color_palette":["vermillion red","marigold orange","smoke gray","ivory white","antique gold"],"tanjore_prompt":"Tanjore painting style: a richly ornamented youthful goddess at center under a wedding canopy, priests with ladles and vessels near a yajña-vedi whose flames appear subdued; abundant gold leaf on jewelry and archways, saturated reds/greens, stylized lotus borders, expressive but restrained faces conveying ritual tension.","pahari_prompt":"Pahari miniature style: a palace-courtyard wedding scene with delicate textiles and fine jewelry; the yajña altar in a corner with thin smoke curling upward, attendants whispering; cool pastel architecture, refined facial features, narrative nuance through small gestures and glances.","kerala_mural_prompt":"Kerala mural style: bold outlines—goddess in bridal adornment, priests by the altar, a symbolic broken yajña flame; strong reds and yellows, green accents, ornamental frame with conch and lotus motifs, temple-wall storytelling composition.","pichwai_prompt":"Pichwai cloth painting style: ceremonial canopy with floral borders, stylized altar and garlands; dense decorative motifs (lotus, creepers) framing the central bridal figure, deep reds and gold highlights, narrative panels suggesting ‘former times’ as a faint vignette in the border."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["ritual bells","murmured mantras","crackling fire (fading)","conch in the distance"]}
Sandhi Resolution Notes: संप्राप्तयौवना = संप्राप्त + यौवना (समास); पुनरेव = पुनः + एव.
FAQs
It states that the Devī, upon reaching youth, was married again, and the narrator links this account to an earlier well-known episode where a sacrifice (yajña) was destroyed—using it as a familiar comparison or reminder.
The verse explicitly addresses Bhīṣma, matching the common Padma Purāṇa frame where Pulastya recounts the narrative to Bhīṣma.
By invoking the destruction of a sacrifice, the text hints that ritual actions can fail when higher cosmic or moral conditions are violated—suggesting that dharma and right order are essential for rites to bear fruit.