Shloka 20
The Sukalā Account in the Vena Episode: Krikala, Pilgrimage, and the Primacy of Wifely-Dharma
एवं यो भार्यया हीनस्तस्यगेहं वनायते । यज्ञाश्च वै न सिध्यंति दानानि विविधानि च
evaṃ yo bhāryayā hīnastasyagehaṃ vanāyate | yajñāśca vai na sidhyaṃti dānāni vividhāni ca
かくして妻を欠く पुरुषにとって、その家は森のごとくなり、まことに祭祀（ヤジュニャ）は成就せず、さまざまな布施（ダーナ）もまた実を結ばない。
Unspecified (context-dependent within Bhūmi-khaṇḍa narration)
Concept: Gṛhastha-dharma is sustained through the household partnership; without it, yajña and dāna lose their proper completion (saṃskāra, sankalpa, and social-ritual support).
Application: Treat family responsibilities and mutual support as part of spiritual practice; cultivate shared sankalpa for charity, worship, and hospitality rather than isolating religion as a private act.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A quiet courtyard with an unlit sacrificial fire-pit and untouched ladles; the house feels vast and hollow, its doorway opening onto a shadowy forest path. A lone householder sits with lowered gaze, while offerings and charity vessels remain unused, suggesting rites that cannot ‘ripen’ without the household’s sacred partnership.","primary_figures":["gṛhastha (householder)","unlit agni (as symbol)","invisible/absent gṛhapatnī (suggested by empty seat)"],"setting":"threshold of a village home blending into a forest edge; a small yajña-vedi, water pot, and dāna-bhāṇḍa placed but idle","lighting_mood":"late-afternoon dimness","color_palette":["smoke gray","earth brown","muted saffron","deep forest green","ash white"],"tanjore_prompt":"Tanjore painting style: a South Indian household shrine courtyard with an ornate but unlit yajña-vedi, gold-leaf borders framing the doorway that opens into a dark green forest; the solitary gṛhastha in traditional attire sits near ritual vessels, rich reds and greens, subtle gold leaf on utensils and arch motifs, gem-studded ornamentation on the shrine canopy, devotional stillness.","pahari_prompt":"Pahari miniature style: a lyrical village home at the forest’s edge, delicate brushwork showing an empty ritual seat beside the fire-pit; cool dusk tones, refined facial features of the lone householder, Himalayan-style landscape cues with layered trees and distant hills, quiet melancholy.","kerala_mural_prompt":"Kerala mural style: bold black outlines of the courtyard, stylized ritual implements, the gṛhastha seated in profile with expressive eyes; natural pigment palette with red/yellow/green dominance, temple-wall aesthetic, the forest rendered as patterned green bands, solemn devotional mood.","pichwai_prompt":"Pichwai cloth painting style: a symbolic courtyard with lotus borders and ornate floral frames; the unlit fire-pit centered like a mandala, empty seat indicated with garland motifs; deep indigo background with gold highlights, intricate vines and peacocks at the margins to contrast domestic order and wilderness."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["soft temple bells","distant wind through trees","faint crackle of an unlit hearth imagined as silence","low drone (tanpura)"]}
Sandhi Resolution Notes: तस्यगेहं → तस्य गेहम्; यज्ञाश्च → यज्ञाः च; सिध्यंति → सिध्यन्ति (अनुस्वार/वर्तनीभेद)
FAQs
It presents the wife as integral to a flourishing household, portraying a wife-less home as spiritually and socially barren, like a forest.
In the dharma framework implied here, many household rites and meritorious duties are ideally performed within the married household order, with the spouse as a key partner in ritual and ethical life.
It underscores responsibility toward household life—valuing companionship, stability, and shared duty as supports for religious practice and generosity.