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
Setelah berkata demikian, Gobhila sang Dānava pun pergi. Ketika Dānava yang durjana dan berbuat dosa itu telah berlalu, perempuan berdosa itu pun (tetap tinggal di sana).
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.