Shloka 41
The Account of Sukalā (Vena-Episode Continuation): Padmāvatī, Gobhila’s Deception, and the Threat of a Curse
मम नाथो महात्मा वै राज्यं त्यक्त्वा प्रदूरतः । यावद्धि चिंतयेत्सा च तावत्पापेन तेन सा
mama nātho mahātmā vai rājyaṃ tyaktvā pradūrataḥ | yāvaddhi ciṃtayetsā ca tāvatpāpena tena sā
«إن سيدي، ذلك العظيم النفس، قد ترك المُلك ومضى بعيدًا. وما دامت تظلّ تُمعن التفكير فيه، فإنها تُبتلى بذلك الإثم نفسه.»
Unclear from the provided single-verse excerpt (context needed to identify the speaker with certainty).
Concept: Obsessive brooding (cintā) sustains the very pāpa that caused separation; release through repentance, right action, and devotion is implied.
Application: When regret arises, acknowledge fault, make amends, and turn the mind to prayer and dharmic action rather than endless self-torment.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A solitary figure speaks with grave tenderness: the noble lord has renounced the kingdom and gone far, and the lingering thought of the fault hangs like a dark thread around the heart. In the background, a distant road fades into haze, while the foreground shows a quiet, still space where remorse can either harden into bondage or soften into surrender.","primary_figures":["a counselor/narrator figure (speaker)","a grieving woman (implied ‘she’)","a distant departing noble lord (small silhouette)"],"setting":"edge of a palace garden opening onto a long road; sparse trees, a quiet stone platform, and a far horizon","lighting_mood":"twilight hush","color_palette":["ash gray","deep maroon","muted gold","dusky blue","sage green"],"tanjore_prompt":"Tanjore painting style: foreground speaker gesturing in counsel, a sorrowful woman seated with lowered gaze, and a tiny distant figure walking away; gold leaf used sparingly to contrast worldly splendor with renunciation; rich but subdued reds/greens, ornate border with moral-symbol motifs (scales of dharma).","pahari_prompt":"Pahari miniature style: melancholic twilight landscape, delicate expressions; the departing figure reduced to a small silhouette on a winding path; cool blues and grays, minimalism emphasizing emotional weight.","kerala_mural_prompt":"Kerala mural style: bold outlines; central counseling figure and sorrowful listener; background road stylized; pigments subdued compared to typical vibrancy to convey śānta-karuṇa mood.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition—central heart-lotus partly shadowed by a dark vine labeled as ‘cintā’, with a small Vishnu emblem above suggesting refuge; ornate floral borders, deep blues and muted gold, peacocks rendered quietly rather than celebratory."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["long silence between lines","soft wind","single temple bell at intervals","distant footsteps fading"]}
Sandhi Resolution Notes: यावद्धि = यावत् + हि (त् + ह → द्धि). चिंतयेत्सा = चिन्तयेत् + सा (त् + स → त्स). तावत्पापेन = तावत् + पापेन (त् + प → त्प).
FAQs
It links inner fixation (brooding or obsessive thought) with continued moral suffering—one remains bound by the fault as long as the mind keeps returning to it.
Yes. It depicts the “great-souled” lord as one who abandons kingship and goes far away, implying spiritual nobility in renunciation.
The excerpt alone does not provide enough narrative markers to identify them reliably. The surrounding verses in Bhūmi-khaṇḍa 49 should be consulted to confirm the speaker and referents.