Shloka 62
The Tale of Sukalā: Testing Pativratā Fidelity and the Body-as-House Teaching
गृहमन्यं प्रवेशाय प्रयात्येव हि सत्वरम् । तथा बाल्यं च तारुण्यं नृणां वृद्धत्वमेव च
gṛhamanyaṃ praveśāya prayātyeva hi satvaram | tathā bālyaṃ ca tāruṇyaṃ nṛṇāṃ vṛddhatvameva ca
De même que l’on se hâte d’entrer dans une autre maison, ainsi, pour les hommes, l’enfance et la jeunesse passent rapidement, pour n’aboutir qu’à la vieillesse.
Unspecified (context needed from surrounding verses; likely within the Pulastya–Bhīṣma dialogue framework typical of the Padma Purāṇa)
Concept: Life stages pass as quickly as moving from one house to another; therefore one should not delay dharma and devotion, since old age arrives inevitably.
Application: Schedule spiritual practice as non-negotiable now (not ‘after retirement’): keep Ekādaśī, daily nāma-japa, and charity; treat time-awareness as compassion toward your future self.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A sequence-like tableau shows a person rushing through doorways: a playful child’s room, a youthful chamber, and finally an austere elder’s space—each ‘house’ entered in quick succession. Above, a subtle wheel of time turns, and a small lamp before Viṣṇu remains constant, hinting at the unchanging refuge amid changing stages.","primary_figures":["Allegorical human figure passing through stages","Personified Kāla (subtle, optional)","Viṣṇu lamp/shrine (symbolic)"],"setting":"Three adjoining rooms or houses arranged like a narrative frieze; doorways aligned to show swift movement; a quiet shrine niche present in each scene.","lighting_mood":"divine radiance","color_palette":["lapis blue","lotus pink","ivory white","burnt umber","soft gold"],"tanjore_prompt":"Tanjore painting style: a triptych composition—childhood, youth, and old age as three ornate doorways; gold leaf highlights on the time-wheel and the constant Viṣṇu lamp, rich reds/greens in textiles, gem-like detailing on borders, stylized architecture with temple motifs.","pahari_prompt":"Pahari miniature style: lyrical sequential narrative with delicate brushwork—same figure moving through three rooms, subtle changes in posture and attire; cool palette with warm accents, refined facial features, a small steady shrine lamp in each panel, Himalayan-like distant hills as metaphor for time’s passage.","kerala_mural_prompt":"Kerala mural style: bold outlines and clear compartmentalization into three life-stage panels; natural pigments, strong reds/yellows/greens, a stylized kāla-cakra above, and a small Viṣṇu emblem glowing steadily across panels.","pichwai_prompt":"Pichwai cloth painting style: frieze-like storytelling with ornate floral borders; three ‘houses’ as decorative arches, lotus motifs linking panels, deep blues and gold; central upper medallion with Kṛṣṇa/Viṣṇu as the constant, peacocks and cows as auspicious witnesses to time’s flow."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura drone","temple bell at intervals","footsteps fading","silence"]}
Sandhi Resolution Notes: गृहम् + अन्यम् → गृहमन्यम्; प्रयाति + एव → प्रयात्येव.
FAQs
It highlights the rapid, unstoppable passage of human life stages—childhood and youth quickly pass, culminating in old age—encouraging awareness of impermanence and wise use of time.
The simile conveys suddenness and speed: just as one quickly crosses into a different house, a person swiftly ‘crosses over’ from one age to the next without noticing how fast it happens.
It supports a practical ethic of urgency and discernment: do not postpone dharma and spiritual practice, since youth is fleeting and aging arrives inevitably.