Padma Purana — Bhumi Khanda, Shloka 33
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
गते भर्तरि या ग्रामं भोगं शृंगारमेव च । लौल्याच्च कुरुते नारी पुंश्चली वदते जनः
gate bhartari yā grāmaṃ bhogaṃ śṛṃgārameva ca | laulyācca kurute nārī puṃścalī vadate janaḥ
Ist der Gatte fort, so nennt man die Frau, die aus lüsterner Unbeständigkeit durchs Dorf geht, sich sinnlichen Genüssen und Schmuck hingibt, eine liederliche Frau.
Unspecified (narratorial/ethical instruction within Bhūmi-khaṇḍa context)
Concept: Lobha/loultya (restless craving) drives outward wandering and indulgence; society labels such conduct as adharma.
Application: Reduce stimulus-seeking when accountability is low; practice modesty and mindfulness; replace ‘adornment for attention’ with ‘adornment for worship’ (cleanliness, simple dress, japa).
Primary Rasa: raudra
Secondary Rasa: bibhatsa
Type: city
Visual Art Cues: {"scene_description":"A husband’s empty seat in the home is shown beside a quiet domestic shrine, while outside the doorway the village street glitters with market colors, music, and ornament sellers. The woman, adorned with bright jewelry, hesitates at the threshold—inside is lamp-lit dharma, outside is noisy craving—while neighbors’ sidelong glances form a ring of social judgment.","primary_figures":["woman at threshold (symbolic)","absent husband (implied by empty seat)","market folk","watchful neighbors"],"setting":"house threshold opening onto a bustling village market street with garland stalls and bangles","lighting_mood":"forest dappled","color_palette":["vermillion","turmeric yellow","indigo","brass gold","leaf green"],"tanjore_prompt":"Tanjore painting style: split-scene threshold composition—interior shrine with gold-leaf lamp and framed household symbols, exterior market with jewel stalls; the woman richly ornamented, neighbors in stylized poses; lavish gold leaf on ornaments and lamp, saturated reds/greens, temple-like borders and embossed detailing.","pahari_prompt":"Pahari miniature style: lyrical village lane with delicate figures, subtle expressions of gossip and judgment; the woman’s ornaments rendered with fine dots, interior lamp glow softly spilling onto the threshold; cool shadows, refined architecture, gentle narrative tension.","kerala_mural_prompt":"Kerala mural style: bold outlines, expressive eyes, the threshold as a strong compositional line; interior lamp and exterior market rendered in flat color fields; red-yellow-green dominance with black contouring, moral contrast conveyed through posture and gaze.","pichwai_prompt":"Pichwai cloth painting style: decorative market scene framed by floral borders; central threshold with a Tulasi planter motif and lamp, peacocks perched as witnesses; deep blue ground with gold and white detailing, intricate textile patterns and lotus vines."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["market chatter (distant)","anklet jingles","temple bell (faint)","conch shell (far)"]}
Sandhi Resolution Notes: शृंगारम्+एव → शृंगारमेव; लौल्यात्+च → लौल्याच्च (त्+च → च्च).
FAQs
It warns that acting from restless craving—seeking public outings, sensual pleasures, and erotic self-adornment while one’s spouse is away—damages one’s reputation and is condemned as immoral conduct.
No. Here “grāma” functions as a social/public setting rather than a sacred place; the verse is primarily a moral observation about behavior and reputation.
It reflects nīti-style instruction emphasizing self-restraint (saṁyama), fidelity, and guarding against laulyā (fickle craving), themes commonly used to uphold gṛhastha-dharma (householder ethics).