Shloka 160
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
इहामुत्र सुखायोक्तं सत्पतिप्राप्तिसंज्ञितम् । दुर्लभत्वात्सतः स्त्रीणां विगुणोपि पतिः किल
ihāmutra sukhāyoktaṃ satpatiprāptisaṃjñitam | durlabhatvātsataḥ strīṇāṃ viguṇopi patiḥ kila
Dies wird zum Glück hier und im Jenseits gelehrt und heißt „einen guten Gatten erlangen“. Da solche Gatten für tugendhafte Frauen selten sind, gilt selbst ein an Eigenschaften armer Mann dennoch wahrlich als Gatte.
Unspecified (narrative voice within Sṛṣṭikhaṇḍa context; exact speaker not provided in the excerpt)
Concept: Household well-being (iha–amutra sukha) is framed through pativratā-dharma and the social ideal of ‘satpati-prāpti’; scarcity of ideal conditions leads to counsel of acceptance within dharmic bounds.
Application: Seek virtue and compatibility, but cultivate patience, respectful speech, and dharmic problem-solving; do not romanticize perfection—strengthen the home through shared worship, truthful conduct, and counsel from elders/ācāryas.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Inside a lamp-lit courtyard of a traditional gṛhastha home, a wise elder instructs a young bride about dharma and the realities of household life. In the background, a small Viṣṇu shrine with a tulasī-vṛndāvana suggests that domestic harmony is sustained by daily worship and restraint.","primary_figures":["gṛhastha-ācārya/elder","young bride (nava-vadhū)","Viṣṇu (as small shrine icon)","Tulasi plant (vṛndāvana)"],"setting":"domestic courtyard with rangoli, brass lamps, a small altar, and a tulasī pedestal","lighting_mood":"temple lamp-lit","color_palette":["warm saffron","deep maroon","antique gold","leaf green","ivory white"],"tanjore_prompt":"Tanjore painting style: a South Indian courtyard scene with a small Viṣṇu icon on a pedestal shrine and a tulasī-vṛndāvana; elder teaching a veiled bride, ornate jewelry, rich red and green textiles; heavy gold-leaf halos around the shrine, embossed gold borders, gem-like highlights on lamps and vessels.","pahari_prompt":"Pahari miniature style: intimate domestic instruction scene on a veranda; delicate facial features, soft textiles, cool shadows; tulasī in a small planter, distant garden trees; lyrical naturalism with fine linework and muted mountain-like blues in the background architecture.","kerala_mural_prompt":"Kerala mural style: bold black outlines, flat natural pigments; central tulasī-vṛndāvana and Viṣṇu shrine; elder and bride in stylized poses with characteristic large eyes; dominant reds, yellows, and greens, temple-wall aesthetic with floral borders.","pichwai_prompt":"Pichwai cloth painting style: devotional domestic tableau framed by lotus and creeper borders; small Viṣṇu shrine emphasized with gold detailing; tulasī leaves patterned throughout; peacocks perched on the courtyard wall, intricate textile motifs, deep indigo background accents."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","oil-lamp crackle","distant conch shell","night insects"]}
Sandhi Resolution Notes: इहामुत्र = इह + अमुत्र; सुखायोक्तम् = सुखाय + उक्तम्; सत्पतिप्राप्तिसंज्ञितम् = सत् + पति + प्राप्ति + संज्ञितम्; दुर्लभत्वात्सतः = दुर्लभत्वात् + सतः; विगुणोपि = विगुणः + अपि
FAQs
It frames ‘attaining a good husband’ as a source of well-being in both this life and the next, and notes that truly virtuous husbands are rare—so marriage is treated as a serious dharmic condition rather than a casual choice.
It emphasizes the rarity of an ideal spouse and the gravity of marital commitment in traditional dharma discourse; it is not a detailed legal/ethical ruling on abuse or harm, which is addressed elsewhere in dharma literature.
It highlights gratitude, realism, and steadiness in family duties—valuing commitment and responsibility over an expectation of perfection.