Shloka 16
The Greatness of Worshiping Rādhā and Dāmodara
Kārttika Observances and Their Fruit
अन्यदेशं गमिष्यावः संकेतमकरोद्द्विज । सुप्तस्य स्वामिनो रात्रौ चासिना तद्गलं द्विज
anyadeśaṃ gamiṣyāvaḥ saṃketamakaroddvija | suptasya svāmino rātrau cāsinā tadgalaṃ dvija
“আমি অন্য দেশলৈ যাম,” এইদৰে সংকেত কৰি দ্বিজে ক’লে। তাৰ পাছত ৰাতি, স্বামী শুই থকা অৱস্থাত, তৰোৱাৰে তাৰ গল কাটি দিলে, হে দ্বিজ।
Narrator (within the Purāṇic frame; exact dialogue speaker not specified in the provided excerpt)
Concept: When adharma matures into hiṃsā, it destroys both victim and perpetrator; betrayal of the ‘svāmin’ (protector/master) is a grave breach of trust with severe karmic recoil.
Application: Do not entertain conspiratorial counsel; cut off toxic alliances; seek lawful, compassionate exits from conflict rather than secret harm.
Primary Rasa: bhayanaka
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A chilling night scene: the household sleeps under heavy shadows while a sword glints coldly in the murderer’s hand. The victim lies unaware, and the moment of throat-cutting is framed not as gore but as stark silhouette—emphasizing the moral horror and the irreversible severing of dharma.","primary_figures":["paramour (as ‘dvija’ conspirator)","sleeping husband (victim)","wife (off-scene or partially hidden, complicit presence)"],"setting":"sleeping chamber with low cot, hanging cloth, small extinguished lamp, moonlight slicing through a lattice","lighting_mood":"moonlit","color_palette":["steel gray","ink black","pale moon-silver","dried-blood maroon","ashen white"],"tanjore_prompt":"Tanjore painting style: nocturnal moral-drama with gold leaf used sparingly on the sword’s edge and moon halo; strong chiaroscuro; figures stylized with traditional ornamentation but grim expressions; ornate border framing the scene like a cautionary panel in a temple corridor.","pahari_prompt":"Pahari miniature style: restrained depiction—silhouettes and minimal blood, focus on tension; moonlit interior with delicate architectural lines; cool palette, refined faces conveying fear and cruelty; a distant owl perched on the roofline.","kerala_mural_prompt":"Kerala mural style: bold outlines, dramatic posture of the assailant, wide expressive eyes; deep blacks and reds; stylized moon disc; temple-wall narrative panel feel with moral emphasis.","pichwai_prompt":"Pichwai cloth painting style: symbolic night panel—dark indigo field with silver moon motifs; the sword rendered as a bright diagonal; floral borders tightened like a net; peacocks absent, replaced by austere vine patterns to convey dread."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairav","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sudden silence","distant dog bark","wind through lattice","single sharp cymbal accent"]}
Sandhi Resolution Notes: सङ्केतमकरोत् = सङ्केतम् + अकरोत्; अकरोद्द्विज = अकरोत् + द्विज (त् + द् → द्द्); चासिना = च + असिना; तद्गलम् = तत् + गलम् (त् + ग् → द्ग्).
FAQs
It narrates a planned departure to another land and a betrayal: the master is killed at night while asleep, his throat cut with a sword.
It illustrates adharma—treachery and violence against one’s benefactor/master—typically used in Purāṇic narratives to warn of grave moral consequences.
“Dvija” means “twice-born,” a common address to a Brahmin or learned interlocutor; here it functions as a vocative within the narration.