Padma Purana — Bhumi Khanda, Shloka 62
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
एवमुक्त्वा जगामाथ गोभिलो दानवस्तदा । गते तस्मिन्दुराचारे दानवे पापचारिणी
evamuktvā jagāmātha gobhilo dānavastadā | gate tasmindurācāre dānave pāpacāriṇī
Après avoir ainsi parlé, Gobhila, le Dānava, s’en alla. Quand ce Dānava au comportement pervers, auteur d’actes impies, fut parti, la femme pécheresse demeura.
Narrator (contextual; specific dialogue speaker not identifiable from the single verse alone)
Concept: Evil departs outwardly, but its residue remains—adharma leaves a stain in the mind and household unless purified by dharmic acts.
Application: After harmful encounters, seek purification: truthful confession, protective boundaries, and restorative spiritual practice rather than denial.
Primary Rasa: bibhatsa
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"Gobhila strides away into a dark corridor, his silhouette tapering into shadow, while behind him the woman stands frozen—half in lamp-light, half in darkness—suggesting the moral split between appearance and inner ruin. The air feels heavy, as if the room itself has absorbed the wrongdoing.","primary_figures":["Gobhila (Dānava)","the ‘pāpācāriṇī’ woman (contextually the same woman)"],"setting":"Palace passageway opening into night; interior threshold with a single oil lamp and scattered, disturbed ornaments.","lighting_mood":"lamp-lit with receding shadows","color_palette":["soot black","bronze","muddy crimson","pale ochre","deep teal"],"tanjore_prompt":"Tanjore painting style: Gobhila exiting through an arched doorway into night, rendered with rich ornamentation; the remaining woman near a brass lamp, face downcast; gold-leaf highlights on architecture and jewelry contrasted with dark background to emphasize moral dissonance; traditional South Indian arch motifs and patterned floor tiles.","pahari_prompt":"Pahari miniature style: a long corridor perspective with Gobhila diminishing into the distance; delicate textiles, muted night blues; the woman framed by a doorway, hands trembling; fine detailing of lamp flame and soft shadow gradients, with a quiet, tense stillness.","kerala_mural_prompt":"Kerala mural style: stylized doorway and bold outlines; Gobhila’s asuric profile moving out, the woman’s sorrowful eyes enlarged; warm lamp yellows against a dark indigo ground; ornamental borders like temple murals to suggest karmic inevitability.","pichwai_prompt":"Pichwai cloth painting style: narrative panel with ornate floral border; central doorway motif; use lotus patterns that appear bruised or darkened; deep blue and gold with crimson accents; subtle symbolic motifs (broken garland, tipped kalasha) indicating auspiciousness disturbed."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["fading footsteps","lamp crackle","distant night insects","heavy silence"]}
Sandhi Resolution Notes: जगामाथ = जगाम + अथ (स्वर-सन्धि). दानवस्तदा = दानवः + तदा (विसर्ग-सन्धि: ः + त → स्). तस्मिन्दुराचारे = तस्मिन् + दुराचारे (व्यञ्जन-सन्धि: न् + द).
FAQs
In this shloka, Gobhila is identified as a Dānava (a demonic/asura-class being). Further identification (lineage, role in the episode) requires surrounding verses.
It marks a transition after the departure of a wicked agent, highlighting “durācāra” (evil conduct) and “pāpa” (sinful action) as moral categories central to Purāṇic storytelling.
The verse is third-person narrative and does not contain an explicit speech marker (e.g., ‘uvāca’ with a named speaker). Identifying the exact dialogue frame (e.g., Pulastya–Bhīṣma) needs the chapter’s opening context.