Shloka 41
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
मूक उवाच । किं कुप्यसि वृथा विप्र न बकोहं तवाधुना । कोपस्सिद्ध्यति ते तावद्बकेनान्यत्र किंचन
mūka uvāca | kiṃ kupyasi vṛthā vipra na bakohaṃ tavādhunā | kopassiddhyati te tāvadbakenānyatra kiṃcana
گونگے نے کہا: “اے برہمن! تو بے سبب کیوں غضبناک ہوتا ہے؟ اب میں تیرے لیے بگلا نہیں ہوں۔ جب تک یہ حال ہے تیرا غضب کامیاب نہ ہوگا؛ اگر کرنا ہی ہے تو اسے کہیں اور لے جا۔”
Mūka (the mute person)
Concept: Anger is futile when directed at a mistaken object; discernment and self-mastery are superior to reactive wrath.
Application: Before reacting, verify facts and motives; redirect energy from blame to right action and inner correction.
Primary Rasa: hasya
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A composed ‘mute’ figure speaks with startling eloquence, raising a hand in gentle admonition while the brāhmaṇa’s anger falters. A faint, symbolic crane silhouette dissolves into the background, hinting at past identity and karmic transformation.","primary_figures":["Mūka (the mute, speaking)","Brāhmaṇa (checked in anger)","Symbolic crane (bakā) motif"],"setting":"A shaded courtyard edge or roadside rest spot with a small water vessel and travel cloth; minimal props to emphasize dialogue.","lighting_mood":"golden dawn","color_palette":["pale sandalwood","smoky blue","soft white","vermillion","olive green"],"tanjore_prompt":"Tanjore painting style: central figure of the Mūka with serene face and raised palm of instruction, brāhmaṇa beside him with softened fury; gold leaf highlights on speech-scroll motifs and a dissolving crane emblem behind them; rich reds/greens, embossed aureoles, traditional ornamentation, ornate border with subtle śaṅkha-cakra patterns.","pahari_prompt":"Pahari miniature style: intimate conversational scene under a tree; delicate lines show the Mūka’s calm smile and the brāhmaṇa’s startled pause; a translucent crane silhouette in the sky; cool mountain-like palette, lyrical naturalism, refined expressions.","kerala_mural_prompt":"Kerala mural style: bold outlines, expressive eyes—Mūka in tranquil posture, brāhmaṇa with tense shoulders; stylized crane motif fading into the background; natural pigments with red/yellow/green dominance, temple-wall composition bands.","pichwai_prompt":"Pichwai cloth painting style: dialogue framed by lotus creepers; central figures on a patterned ground; decorative crane motifs woven into the border as karmic symbol; deep indigo background with gold and white floral detailing, Nathdwara-like textile richness."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["light birdsong","rustle of leaves","a single temple bell in distance","brief amused cadence in voice"]}
Sandhi Resolution Notes: बकोहं = बकः + अहम्; तवाधुना = तव + अधुना; कोपस्सिद्ध्यति = कोपः + सिद्ध्यति; तावद्बकेन = तावत् + बकेन; बकेनान्यत्र = बकेन + अन्यत्र; किञ्चन = किम् + चन (indefinite)
FAQs
It cautions against misplaced anger—rage aimed at the wrong target becomes futile and ethically misguided.
The statement implies a mistaken identification or a change in circumstance: the brāhmaṇa’s anger is being directed at someone who is not (or is no longer) the supposed offender.
Before reacting, verify facts and responsibility; otherwise anger becomes purposeless, harms relationships, and obstructs discernment (viveka).