Shloka 21
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
दिव्या देव्या मया ख्यातं यथा मे पृच्छितं त्वया । एतत्ते सर्वमाख्यातं तस्याः पूर्वविचेष्टितम्
divyā devyā mayā khyātaṃ yathā me pṛcchitaṃ tvayā | etatte sarvamākhyātaṃ tasyāḥ pūrvaviceṣṭitam
હે દિવ્ય દેવી, તું જેમ મને પૂછ્યું તેમ જ મેં સમજાવ્યું. તેણીના પૂર્વકૃત કર્મો અને પૂર્વઆચરણ સહિત આ બધું તને પૂર્ણ રીતે કહેલું છે.
Unspecified narrator (speaker not identifiable from this single verse alone)
Concept: Past conduct (pūrva-vicēṣṭita) is to be heard fully and truthfully; narration itself becomes a vehicle for moral discernment and purification through śravaṇa.
Application: Seek complete context before judging; practice attentive listening to dharmic narratives and reflect on how prior choices shape present outcomes.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A calm hermitage interior where a venerable narrator finishes recounting a woman’s former deeds to a radiant, attentive listener. Palm-leaf manuscripts lie open; the air feels still, as if the story’s moral weight has settled into silence before the next question arises.","primary_figures":["unnamed narrator-sage","divine lady (listener)"],"setting":"forest āśrama with kusa mats, low wooden stand for manuscripts, faint smoke from a small agnihotra fire","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","smoke gray","leaf green","lamp-flame amber","ink black"],"tanjore_prompt":"Tanjore painting style: a seated sage concluding a discourse to a divine lady in an āśrama, gold leaf halo around the listener, rich maroon and emerald textiles, palm-leaf manuscript details, ornate borders with lotus motifs, subtle gem-studded ornaments, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate hermitage scene with delicate brushwork, soft forest greens and cool browns, refined faces, a small sacred fire, manuscripts on a wooden stand, lyrical stillness and gentle negative space.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm ochres and greens, stylized large eyes, sage gesturing in completion, lamp-lit ambience, temple-wall texture, minimal but iconic props (manuscript, kamaṇḍalu).","pichwai_prompt":"Pichwai cloth painting style: narrative vignette framed by lotus and creeper borders, deep indigo background with gold highlights, central seated figures on a patterned cloth, peacocks at the corners, devotional calm rather than pastoral bustle."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bell","crackling fire","night insects","brief silence after the final line"]}
Sandhi Resolution Notes: देव्याः (देव्याः), एतत्ते = एतत् + ते, सर्वमाख्यातम् = सर्वम् + आख्यातम्, पूर्वविचेष्टितम् = पूर्व + विचेष्टितम् (समास)
FAQs
It signals closure or completion of a narrated account: the speaker says they have explained everything exactly as requested, including the subject’s earlier actions.
No. It uses respectful vocatives (“O divine one / O goddess”), but the specific identity is not stated in this verse alone.
It underscores faithful transmission—answering precisely what was asked—and frames the preceding narrative as complete and authoritative within the dialogue.