Padma Purana — Bhumi Khanda, Shloka 4
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
एवं सर्वं विजानामि दैत्याचारं शृणुष्व मे । परस्वं परदारांश्च बलाद्भुंजामि नान्यथा
evaṃ sarvaṃ vijānāmi daityācāraṃ śṛṇuṣva me | parasvaṃ paradārāṃśca balādbhuṃjāmi nānyathā
So erkenne ich alles; nun höre von mir das Verhalten der Daityas: Mit Gewalt raube und genieße ich fremdes Gut und fremde Frauen—für mich gibt es keinen anderen Weg.
Unspecified (a self-confessing speaker describing ‘daitya’ conduct)
Concept: Adharma is not ignorance alone but chosen predation; violating others’ property and marriage is a direct assault on social and spiritual order.
Application: Treat others’ boundaries—wealth, relationships, dignity—as sacred; cultivate restraint (dama) and accountability, especially where power enables harm.
Primary Rasa: bibhatsa
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"The daitya speaks with chilling frankness, one hand gripping stolen ornaments while the other points toward a shadowy scene of forced seizure, rendered as a moral warning rather than titillation. The sacred boundary of a hermitage glows in the distance, contrasting with the darkness of coercion in the foreground.","primary_figures":["Confessing Daitya speaker","Implied victims as silhouettes (non-explicit)","A distant ascetic presence (optional)"],"setting":"A liminal space between a bright hermitage and a dark encampment; scattered jewelry, overturned vessels, and torn garlands symbolize violated order.","lighting_mood":"ominous twilight with a distant sanctum glow","color_palette":["charcoal black","blood maroon","dull gold","smoke gray","pale saffron"],"tanjore_prompt":"Tanjore painting style: moral-allegory composition—daitya in heavy ornaments holding seized wealth, background split into dark camp and luminous hermitage, gold leaf used sparingly on stolen objects to emphasize corrupted splendor, rich reds and blacks, iconographic restraint avoiding explicit violence while conveying transgression through symbols (broken garland, overturned kalasha).","pahari_prompt":"Pahari miniature style: subdued, ethically framed scene—daitya figure in the foreground with tense posture, delicate rendering of symbolic objects (scattered bangles, torn floral strings), distant hermitage painted in cool moonlit tones, refined faces showing moral gravity rather than spectacle.","kerala_mural_prompt":"Kerala mural style: bold outlines and flat pigments; the daitya’s expression stark, background divided into two panels—dark red-brown for adharma and bright yellow-ochre for dharma—symbolic props (broken pot, displaced ornaments) communicate the confession without explicit depiction.","pichwai_prompt":"Pichwai cloth painting style: allegorical border of thorny creepers around the lower half (adharma) and lotus vines around the upper half (dharma), central figure of the daitya holding a glittering but ‘heavy’ chain, deep blue ground with muted gold, devotional warning aesthetic."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"grave","sound_elements":["low drum (mridangam) pulse","wind through trees","distant thunder","long pauses"]}
Sandhi Resolution Notes: दैत्याचारं = दैत्य-आचारम् (तत्पुरुषसमासः)। परस्वं = पर-स्वम् (कर्मधारयः: अन्यस्य स्वम्)। परदारांश्च = परदारान् च (न् + च → ंश्च)। बलाद्भुञ्जामि = बलात् भुञ्जामि (त् + भ् → द्भ्)। नान्यथा = न अन्यथा (अ + अ → आ)।
FAQs
It defines adharma through a Daitya-like mindset: taking others’ property and violating others’ spouses by force—actions presented as inherently unethical.
‘Parasva’ means another person’s property/wealth, and ‘paradāra’ means another person’s spouse (literally, ‘another’s wife’ in this verse).
It emphasizes coercion and inevitability in the speaker’s confession—highlighting a willful commitment to forceful wrongdoing, which the Purāṇic moral framework condemns.