Shloka 113
The Account and Merit of Śivadūtī
with the Nāga-tīrtha at Puṣkara
अत्येषु च रुदंत्यो या स्त्रियस्तिष्ठंति नित्यशः । तासां शरीरगाश्चान्याः काश्चित्तृप्तिमवाप्नुयुः
atyeṣu ca rudaṃtyo yā striyastiṣṭhaṃti nityaśaḥ | tāsāṃ śarīragāścānyāḥ kāścittṛptimavāpnuyuḥ
ហើយក្នុងចំណោមអ្នកដែលស្នាក់នៅទីនោះជានិច្ច គឺស្ត្រីដែលយំសោក—សត្វសត្តាផ្សេងៗខ្លះដែលស្ថិតនៅក្នុងរាងកាយរបស់នាងៗ អាចទទួលបានសេចក្តីពេញចិត្តតាមភាគរបស់ខ្លួន។
Unspecified in the provided excerpt (context needed from surrounding verses in Adhyaya 31).
Concept: Suffering can be layered: visible grief may coexist with subtler dependents (inner beings) seeking their own satisfaction; therefore one must act with compassion and discernment toward embodied life.
Application: Do not judge only the outward expression of pain; offer support that nourishes the whole person (body, mind, dependents), and avoid actions that increase hidden burdens.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"A shadowed threshold-land where women sit in stillness, tears falling like pearls onto dark earth. Within their translucent silhouettes, faint inner presences—subtle beings like small lights—seek a quiet ‘satisfaction,’ suggesting unseen dependents sustained by the embodieds’ suffering.","primary_figures":["weeping women (striyaḥ)","subtle inner beings (antar-gata bhūtāḥ)"],"setting":"Liminal grove or desolate courtyard at the edge of a sacred boundary, with withered lotuses and a distant shrine barely visible.","lighting_mood":"moonlit","color_palette":["indigo black","ash gray","pale silver","deep maroon","dim lotus pink"],"tanjore_prompt":"Tanjore painting style: a solemn liminal scene with seated weeping women in stylized South Indian drapery, faint aureoles showing subtle inner beings as tiny lamp-flames within their torsos, ornate border with gold leaf, minimal background shrine silhouette, rich maroons and greens with gold highlights, gem-like tear drops rendered as pearls.","pahari_prompt":"Pahari miniature style: delicate night landscape with a thin crescent moon, women in soft shawls weeping beside a dark pond with wilted lotuses, subtle inner beings painted as tiny glowing sprites within faint body outlines, cool blues and grays, lyrical trees and distant temple spire, refined facial expressions of quiet sorrow.","kerala_mural_prompt":"Kerala mural style: bold black outlines, women seated in a frieze-like arrangement, tears as stylized white strokes, inner beings as small flame motifs inside the body, earthy reds/yellows/greens with deep indigo background, temple-wall aesthetic and large expressive eyes conveying karuṇa.","pichwai_prompt":"Pichwai cloth painting style: nocturnal courtyard with lotus motifs turned downward, border of stylized tulasi and lotus vines, central band of weeping women, inner beings as small diya-flames, deep blue ground with gold detailing, devotional textile symmetry though the mood remains plaintive."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["low temple bell","distant wind","soft sobbing hush","long pauses","night insects"]}
Sandhi Resolution Notes: striyaḥ+tiṣṭhanti → striyastiṣṭhanti; śarīragāḥ+ca+anyāḥ → śarīragāścānyāḥ; kāścit+tṛptim → kāścittṛptim; tṛptim+avāpnuyuḥ → tṛptimavāpnuyuḥ.
FAQs
The speaker cannot be reliably identified from this single verse alone; the surrounding verses in Adhyaya 31 are required to confirm whether the dialogue is Pulastya–Bhīṣma or another frame.
It contrasts visible human grief (women weeping continually) with the notion that other subtle beings associated with them (described as body-dwelling) may still attain their own form of satisfaction.
It suggests that experiences of sorrow and satisfaction may operate on different levels of being, encouraging a broader karmic and metaphysical view beyond surface emotion.