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Shloka 63

The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha

तस्यैवादृश्यतां दृष्ट्वा विस्मितोभूद्द्विजस्तदा । स च साध्वीगृहं गत्वा पप्रच्छाथ पतिव्रतां

tasyaivādṛśyatāṃ dṛṣṭvā vismitobhūddvijastadā | sa ca sādhvīgṛhaṃ gatvā papracchātha pativratāṃ

Melihat beliau menjadi tak terlihat, brāhmaṇa itu pun tercengang. Lalu ia pergi ke rumah wanita suci itu dan bertanya kepada sang pativratā yang setia pada suami.

tasyaof him
tasya:
Sambandha (सम्बन्ध)
TypeNoun
Roottad (तद्-प्रातिपदिक)
FormMasculine/Neuter, Genitive (6th/षष्ठी), Singular (एकवचन)
evaindeed
eva:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rooteva (अव्यय)
FormEmphatic particle (अवधारण-निपात)
adṛśyatāminvisibility / disappearance
adṛśyatām:
Karma (कर्म)
TypeNoun
Roota + dṛśya + tā (प्रातिपदिक)
FormFeminine (स्त्रीलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन); abstract noun 'invisibility/disappearance'
dṛṣṭvāhaving seen
dṛṣṭvā:
Pūrvakāla-kriyā (पूर्वकालक्रिया)
TypeVerb
Rootdṛś (दृश्-धातु)
FormAbsolutive/Gerund (क्त्वान्त अव्यय), 'having seen'
vismitaḥastonished
vismitaḥ:
Kartṛ-samānādhikaraṇa (कर्तृसमानाधिकरण)
TypeAdjective
Rootvismita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन); predicate adjective
abhūtbecame/was
abhūt:
Kriyā (क्रिया)
TypeVerb
Rootbhū (भू-धातु)
FormImperfect (लङ्), 3rd Person (प्रथमपुरुष), Singular (एकवचन), Parasmaipada (परस्मैपद)
dvijaḥthe Brahmin
dvijaḥ:
Karta (कर्ता)
TypeNoun
Rootdvija (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन)
tadāthen
tadā:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeIndeclinable
Roottadā (अव्यय)
FormAdverb of time (कालवाचक अव्यय)
saḥhe
saḥ:
Karta (कर्ता)
TypeNoun
Roottad (तद्-प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन)
caand
ca:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootca (अव्यय)
FormConjunction (समुच्चयबोधक अव्यय)
sādhvī-gṛhamthe virtuous woman's house
sādhvī-gṛham:
Karma (कर्म)
TypeNoun
Rootsādhvī + gṛha (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन); षष्ठी-तत्पुरुष: 'house of the virtuous woman'
gatvāhaving gone
gatvā:
Pūrvakāla-kriyā (पूर्वकालक्रिया)
TypeVerb
Rootgam (गम्-धातु)
FormAbsolutive/Gerund (क्त्वान्त अव्यय), 'having gone'
papracchaasked
papraccha:
Kriyā (क्रिया)
TypeVerb
Rootprach (प्रच्छ्-धातु)
FormPerfect (लिट्), 3rd Person (प्रथमपुरुष), Singular (एकवचन), Parasmaipada (परस्मैपद)
athathen/thereupon
atha:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootatha (अव्यय)
FormParticle/adverb (अनन्तरबोधक निपात)
pativratāmthe devoted wife
pativratām:
Karma (कर्म)
TypeNoun
Rootpativratā (प्रातिपदिक)
FormFeminine (स्त्रीलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन)

Narrator (contextual; verse reports events rather than direct speech)

Concept: Awe should mature into purposeful seeking; after witnessing the divine, one must proceed to the virtuous and inquire with sincerity.

Application: Convert spiritual experiences into ethical action—seek guidance, ask clear questions, and follow through.

Primary Rasa: adbhuta

Secondary Rasa: shanta

Type: city

Visual Art Cues: {"scene_description":"The brāhmaṇa stands frozen for a moment, eyes wide, as the space where Bhagavān stood is now empty—only a lingering shimmer remains. Gathering himself, he walks toward a modest home where a chaste woman resides, his posture shifting from shock to reverent determination.","primary_figures":["brāhmaṇa seeker","Śubhā (inside/approaching, implied)"],"setting":"village lane leading to a clean doorway with rangoli patterns, water pot, and flowering creepers","lighting_mood":"forest dappled","color_palette":["earth brown","jasmine white","leaf green","sunlit gold","vermillion red"],"tanjore_prompt":"Tanjore painting style: the brāhmaṇa turning from an empty radiant space toward a decorated doorway; gold leaf used to depict the fading divine shimmer, ornate borders, rich textiles, and a small shrine lamp near the threshold.","pahari_prompt":"Pahari miniature style: a winding lane with delicate trees and patterned walls; the brāhmaṇa mid-step, expression transitioning from wonder to humility, soft light and fine detailing on the doorway decorations.","kerala_mural_prompt":"Kerala mural style: strong outlines showing the brāhmaṇa’s astonished face, the empty space marked by stylized aura motifs; the house-front rendered with floral bands and traditional pigments.","pichwai_prompt":"Pichwai cloth painting style: narrative procession toward a sacred household, framed by lotus borders; peacocks and floral motifs guide the eye to the doorway, deep blue and gold accents suggesting unseen divine presence."}

Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["footsteps on earth","rustling leaves","distant bell","soft silence after conch"]}

Sandhi Resolution Notes: tasyaivādṛśyatām = tasya eva adṛśyatām; vismitobhūt = vismitaḥ abhūt (विसर्ग-लोप/सन्धि); dvijastadā = dvijaḥ tadā (विसर्ग-सन्धि: अः + त → स्त); sādhvīgṛham = sādhvī-gṛham (समास/सन्धि); papracchātha = papraccha atha.

D
dvija (brāhmaṇa)
S
sādhvī/pativratā (chaste devoted wife)

FAQs

A brāhmaṇa witnesses an extraordinary event—his (or someone’s) becoming unseen—and, amazed, he goes to a chaste woman’s home to ask her about it.

It denotes a wife renowned for fidelity and religious dedication within household dharma—often presented in Purāṇic narratives as possessing spiritual power through virtue and self-restraint.

Instead of reacting with fear or pride, he seeks understanding from a person known for virtue, implying humility, inquiry (jijñāsā), and respect for dharmic authority grounded in conduct.