Shloka 9
चिकीर्षितं ते किमिदं पतिस्त्वया । प्रलंभितो लोकनमस्कृतो मुनिः । त्वया जराग्रस्तमसंमतं पतिं । विहाय जारं भजसेऽमुमध्वगम्
cikīrṣitaṃ te kimidaṃ patistvayā | pralaṃbhito lokanamaskṛto muniḥ | tvayā jarāgrastamasaṃmataṃ patiṃ | vihāya jāraṃ bhajase'mumadhvagam
ما الذي تنوين فعله؟ لقد خدعتِ زوجكِ—ذلك الحكيم الذي يوقّره العالم. تركتِ زوجًا أنهكته الشيخوخة ولم تعودي ترضين به، ثم آثرتِ هذا العشيق، عابرَ السبيل في الطريق.
Uncertain from the single-verse excerpt (a reproachful speaker addressing a woman); likely within a dialogue narrative of Pātālakhaṇḍa.
Concept: Adultery and deception toward a venerable spouse violate strī-dharma and āśrama-dharma; worldly reverence for a sage heightens the gravity of betrayal.
Application: Do not rationalize harm by calling it ‘personal happiness’; examine whether desire is transient like a traveler and whether it breaks trust and duty.
Primary Rasa: raudra
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A stern elder or courtly reproacher points toward a veiled woman standing beside a rugged traveler with dust on his garments. In the background, a venerable sage-husband sits aged and withdrawn, his aura of tapas dimmed by betrayal, while the air feels heavy with judgment.","primary_figures":["reproaching speaker (elder/counselor)","the woman of noble birth","the aged sage-husband","the traveler-lover (adhvaga)"],"setting":"palace courtyard opening to a road; a hermitage corner visible with kusa grass seat and water pot","lighting_mood":"forest dappled","color_palette":["ash gray","saffron ochre","dusty brown","dark teal","muted gold"],"tanjore_prompt":"Tanjore painting style: dramatic moral tableau—an elder admonishing, finger raised; the woman in ornate attire yet downcast; the traveler-lover with dusty cloak; the aged sage seated with kamandalu; gold leaf used to contrast the sage’s sanctity against the shadowed figures, rich reds/greens and heavy jewelry details.","pahari_prompt":"Pahari miniature style: narrative split-scene—foreground accusation, background hermitage with the aged muni; delicate expressions, restrained palette, lyrical road winding into hills, subtle moral tension conveyed through posture and gaze.","kerala_mural_prompt":"Kerala mural style: bold outlines, intense eyes—reproacher in commanding stance, woman conflicted, traveler restless; sage-husband seated in tapas posture; warm earthy pigments with stark contrasts to heighten raudra rasa.","pichwai_prompt":"Pichwai cloth painting style: moral allegory framed by lotus and vine borders; a small Viṣṇu emblem above as silent witness; figures arranged like a procession—speaker admonishing, woman between dharma (sage) and desire (traveler); deep blues and gold with intricate textile motifs."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sharp hand cymbal accents","tense silence between lines","distant wind","footsteps on road"]}
Sandhi Resolution Notes: पतिस्त्वया = पतिः + त्वया; भजसेऽमुमध्वगम् = भजसे + अमुम् + अध्वगम् (ऽ = अ-लोप/अवग्रह)। लोकनमस्कृतः = लोकैः नमस्कृतः (षष्ठी-तत्पुरुषार्थः)।
FAQs
It condemns deceiving a socially revered husband and abandoning him—especially when he is aged—in favor of an illicit lover, framing it as a breach of dharma.
It indicates the husband is a sage respected by society, so the wrongdoing is portrayed as both personal betrayal and a moral offense against a venerable figure.
“Adhvaga” suggests a wayfarer or transient person, emphasizing the instability and impropriety of choosing a passing liaison over a legitimate household bond.