Shloka 27
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
कौपीनेन समायुक्तः पाणिपात्रो दिगंबरः । गृहद्वारं समाश्रित्य चित्रायाः परिसंश्रितः
kaupīnena samāyuktaḥ pāṇipātro digaṃbaraḥ | gṛhadvāraṃ samāśritya citrāyāḥ parisaṃśritaḥ
N’ayant pour vêtement qu’un kaupīna, les mains pour écuelle d’aumône, nu par ailleurs, il prit refuge au seuil de la maison et se tint près de Citrā.
Narrator (contextual; specific dialogue pair not explicit from single verse)
Concept: Renunciation is marked by minimal possessions and dependence on alms; the householder’s dharma is tested at the threshold.
Application: Keep a mindset of service at home: offer water, shade, and kind words to those who arrive in need; practice non-judgment and generosity.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"At a humble doorway, the ascetic stands with only a kaupīna, his hands cupped as a begging-bowl, body dusted by travel. Citrā is nearby, half in shadow, noticing the silent figure at the threshold where household life meets the wild freedom of renunciation.","primary_figures":["wandering siddha (digambara, kaupīna-dhārī)","Citrā"],"setting":"doorway of a modest house with a small veranda; earthen pots; a faint rangoli/threshold marking; sparse courtyard","lighting_mood":"temple lamp-lit shade against bright exterior sun","color_palette":["terracotta","smoke gray","leaf green","lamp-flame amber","deep indigo"],"tanjore_prompt":"Tanjore painting style: Citrā at the doorway gazing upon a kaupīna-clad ascetic with staff; gold leaf highlights on the doorway arch and aura; rich maroon and green textiles for Citrā, minimal ash-gray tones for the ascetic; ornate border with lotus motifs; devotional stillness emphasized through symmetrical composition.","pahari_prompt":"Pahari miniature style: intimate domestic threshold scene; Citrā in delicate garments stands near a wooden doorframe; the ascetic, spare and dignified, holds his hands as pātra; fine brushwork on facial expressions, soft shadows under the veranda, muted earth palette with cool blues.","kerala_mural_prompt":"Kerala mural style: bold outlines; Citrā with stylized eyes and jewelry; ascetic with shaved head and staff; flat ochre background with green foliage; doorway rendered like a temple-panel frame; warm reds and yellows dominate with black contouring.","pichwai_prompt":"Pichwai cloth painting style: doorway framed by elaborate floral borders and lotus creepers; Citrā and the ascetic centered; deep blue ground with gold ornamentation; peacocks on the roof edge; subtle conch-and-lotus motifs in the border to hint at Vaiṣṇava sanctity of hospitality."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft courtyard silence","distant birds","earthen pot clink","faint conch from afar (optional)"]}
Sandhi Resolution Notes: गृहद्वारं = गृह-द्वारम् (षष्ठी-तत्पुरुष).
FAQs
It depicts radical renunciation: minimal clothing (kaupīna), begging with one’s hands (pāṇipātra), and the digambara ideal—signaling detachment from possessions and social display.
The threshold is the conventional place for a mendicant to seek alms without intruding into household space, reflecting restraint, humility, and social dharma around bhikṣā.
From this single śloka, Citrā is identifiable as a named female figure near whose house/space the ascetic stands; fuller identification (role, lineage, narrative function) depends on surrounding verses in Adhyaya 86.