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Padma Purana — Bhumi Khanda, Shloka 34

The Tale of Sukalā: Illusion, Desire, and the Testing of a Chaste Wife

within the Vena Cycle

आत्मतेजः प्रकाशेन बाध्यबाधकतां व्रजेत् । नारीरूपं समाश्रित्य धीरं पुरुषं प्रमोहयेत्

ātmatejaḥ prakāśena bādhyabādhakatāṃ vrajet | nārīrūpaṃ samāśritya dhīraṃ puruṣaṃ pramohayet

بضياء قوّة المرء الباطنة قد يبلغ حالًا لا يكون فيه مقيَّدًا ولا مُقيِّدًا؛ ومع ذلك، إذا اتّخذ هيئةَ امرأةٍ أمكنه أن يُحيّر حتى الرجلَ الثابت.

आत्मतेजःone's own radiance/inner splendor
आत्मतेजः:
Karta (Subject/कर्ता)
TypeNoun
Rootआत्मन् + तेजस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा (1st/Nominative), एकवचन; षष्ठी-तत्पुरुषः (आत्मनः तेजः)
प्रकाशेनby (its) illumination
प्रकाशेन:
Karana (Instrument/करण)
TypeNoun
Rootप्रकाश (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (3rd/Instrumental), एकवचन
बाध्यबाधकताम्the state of being both afflicted and afflicter
बाध्यबाधकताम्:
Karma (Object/कर्म)
TypeNoun
Rootबाध्य + बाधक + ता (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; इतरेतर-द्वन्द्वः (बाध्यः च बाधकः च) + ता (भाववाचक)
व्रजेत्should go/attain
व्रजेत्:
Kriya (Action/क्रिया)
TypeVerb
Rootव्रज् (धातु)
Formविधिलिङ् (Optative), प्रथमपुरुष, एकवचन; परस्मैपदी
नारीरूपम्the form of a woman
नारीरूपम्:
Karma (Object/कर्म)
TypeNoun
Rootनारी + रूप (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; षष्ठी-तत्पुरुषः (नार्याः रूपम्)
समाश्रित्यhaving assumed/resorted to
समाश्रित्य:
Purvakala (Prior action/पूर्वकाल)
TypeIndeclinable
Rootसम्-आ-श्रि (धातु)
Formक्त्वान्त (Absolutive/Gerund), अव्ययभाव; ‘having resorted to/assuming’
धीरम्steadfast
धीरम्:
Karma (Object/कर्म)
TypeAdjective
Rootधीर (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; विशेषणम् (पुरुषम्)
पुरुषम्a man
पुरुषम्:
Karma (Object/कर्म)
TypeNoun
Rootपुरुष (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन
प्रमोहयेत्should delude/bewilder
प्रमोहयेत्:
Kriya (Action/क्रिया)
TypeVerb
Rootप्र- मुह् (धातु)
Formविधिलिङ् (Optative), प्रथमपुरुष, एकवचन; परस्मैपदी; णिच् (causative) भावः—‘to delude’

Unspecified in the provided excerpt (context needed from surrounding verses of Bhūmi-khaṇḍa 57).

Concept: Inner radiance (ātma-tejas) can lift one beyond the duality of binding and being bound, yet māyā through alluring form can still bewilder even the steadfast—therefore vigilance and discernment are required.

Application: Cultivate inner discipline (tejas) through sādhana, but do not become complacent; maintain boundaries, avoid triggers, and keep a devotional anchor (nāma, mantra, seva) when confronted with seductive appearances.

Primary Rasa: adbhuta

Secondary Rasa: bhayanaka

Visual Art Cues: {"scene_description":"A yogic figure sits within a halo of inner fire, the aura forming a protective mandala that suggests freedom from bondage. From the edge of the mandala, a mesmerizing woman-form—clearly a magical assumption—steps forward, her veil made of shimmering māyā, and the steadfast man’s gaze wavers as the air itself seems to ripple.","primary_figures":["A dhīra (steadfast ascetic/hero)","A form-shifting enchantress (māyā-śakti)","Subtle personification of ātma-tejas (aura/mandala)"],"setting":"Forest hermitage threshold or a liminal clearing where tapas meets temptation; kusa grass, a small fire altar, distant deer frozen mid-step.","lighting_mood":"forest dappled with a sudden supernatural shimmer","color_palette":["amber glow","deep indigo","emerald green","silver sheen","sandalwood beige"],"tanjore_prompt":"Tanjore painting style: central ascetic with a thick gold-leaf halo representing ātma-tejas, seated near a small yajña-kuṇḍa; at the right, an enchantress in rich silk with gem-studded ornaments steps from a curtain of iridescent patterns; ornate borders, heavy gold embellishment, dramatic contrast between sacred aura and seductive glamour.","pahari_prompt":"Pahari miniature style: a quiet Himalayan-foothill grove, the dhīra seated on a tiger-skin, delicate flames of tejas painted as fine golden lines; the woman-form appears like a mirage with translucent dupatta; cool greens and blues, refined facial expressions showing the moment of wavering.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized eyes; tejas as a circular aureole of yellow-white around the ascetic; the enchantress rendered with vivid reds and greens, her form emerging from patterned māyā-clouds; temple-wall composition with symbolic flora.","pichwai_prompt":"Pichwai cloth painting style: central medallion of a seated figure with a radiant lotus-aura; surrounding border of swirling floral motifs that morph into peacock-feather eyes suggesting māyā; the enchantress placed at the periphery like a test; deep blue ground, gold highlights, intricate textile-like detailing."}

Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","crackling sacred fire","low drone","sudden hush at the word 'pramohayet'"]}

Sandhi Resolution Notes: आत्मतेजः = आत्मन् + तेजः (विसर्ग-सन्धि); बाध्यबाधकताम् = बाध्य-बाधक (द्वन्द्व) + ता; नारीरूपम् = नारी + रूपम्; समाश्रित्य (क्त्वा-प्रत्यय) अव्ययीभाववत् प्रयोगः।

FAQs

It contrasts inner spiritual radiance (ātma-tejas) that transcends bondage with the power of deceptive appearances (māyā), which can still bewilder even a disciplined person.

It points to a condition beyond the duality of being affected by others (bādhya) or affecting others (bādhaka)—a kind of transcendence of entangling agency and susceptibility.

In Purāṇic idiom, “assuming a woman’s form” often signals disguise/illusion rather than a statement about women as such; the ethical point is vigilance against seductive appearances that disturb discernment.