Padma Purana — Bhumi Khanda, Shloka 44
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
अधर्मचारिणी दुष्टा पतिं त्यक्त्वा समागता । क्वास्ते तत्पतिदेवत्वं दर्शय त्वं ममाग्रतः
adharmacāriṇī duṣṭā patiṃ tyaktvā samāgatā | kvāste tatpatidevatvaṃ darśaya tvaṃ mamāgrataḥ
Ô femme méchante qui vis dans l'iniquité, ayant abandonné ton époux, tu es venue ici. Où est ta prétendue dévotion envers ton mari comme s'il était un dieu ? Montre-la-moi ici, devant mes yeux.
Unspecified (context needed to identify the speaker reliably within Bhūmi-khaṇḍa 50)
Concept: Abandoning one’s spouse is framed as adharma; claims of pati-devatā (husband-as-deity) are challenged as empty if conduct contradicts them.
Application: Do not use sacred language to mask harmful choices; if you claim a vow or devotion, demonstrate it through consistent behavior and accountability.
Primary Rasa: raudra
Secondary Rasa: bibhatsa
Visual Art Cues: {"scene_description":"The admonisher stands before the woman as if holding a mirror of dharma, demanding proof of her proclaimed devotion. The woman’s posture wavers between defiance and exposure, while the surrounding space feels like a courtroom without walls—nature itself witnessing the challenge.","primary_figures":["Dharma-admonisher (sage/guardian figure)","Woman accused of abandoning her husband"],"setting":"Open clearing near forest edge, with a flat stone like a judgment seat; distant mountains suggest remoteness yet public scrutiny.","lighting_mood":"hard midday clarity","color_palette":["sun-bleached ochre","stone grey","crimson","dark teal","golden brown"],"tanjore_prompt":"Tanjore painting style: moral ‘court’ in a forest clearing, admonisher centered with commanding gesture, the woman adorned yet visibly unsettled, gold leaf highlighting the tension between ‘devatā’ claim and conduct, ornate borders, rich reds and greens, traditional South Indian stylization.","pahari_prompt":"Pahari miniature style: a bright clearing with crisp outlines, the admonisher’s finger raised in challenge, the woman’s face turned slightly away, refined expressions, distant hills and delicate trees, cool-warm balance conveying exposure under daylight.","kerala_mural_prompt":"Kerala mural style: frontal figures with bold outlines, expressive eyes, the admonisher’s stern mouth and the woman’s conflicted gaze, stylized clearing and rocks, red-yellow-green palette, temple-wall didactic feel.","pichwai_prompt":"Pichwai cloth painting style: symbolic scene framed by floral borders, lotus motifs ironically surrounding a moral test, deep blue ground with gold highlights, stylized figures, peacocks and vines as witnesses, decorative yet admonitory tone."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["stillness","single temple bell strike","distant bird call","soft rustle of cloth and ornaments"]}
Sandhi Resolution Notes: क्वास्ते = क्व + अस्ते; तत्पतिदेवत्वं = तत् + पतिदेवत्वम्; ममाग्रतः = मम + अग्रतः.
FAQs
“Patidevatva” means the ideal of regarding one’s husband as worthy of reverence like a deity—an ethical-religious model of marital fidelity discussed in some Dharma-oriented passages.
The verse frames abandonment of one’s spouse as adharma and challenges the sincerity of claimed virtue, stressing accountability and consistency between ideals and actions.
Not with certainty from the verse alone; the line is part of a dialogue, so identifying the speaker requires the surrounding verses of Bhūmi-khaṇḍa, Adhyāya 50.