Shloka 55
Episode of Vena: The Power of Association and Revā (Narmadā) Tīrtha
तस्योपघातमेवासौ सा चकार दिने दिने । सुशंखः क्षमते नित्यं गच्छगच्छेति सोऽब्रवीत्
tasyopaghātamevāsau sā cakāra dine dine | suśaṃkhaḥ kṣamate nityaṃ gacchagaccheti so'bravīt
ນາງໄດ້ທຳຮ້າຍແລະກໍ່ກວນເຂົາທຸກມື້. ແຕ່ສຸສັງຂະກໍອົດທົນເສມອ ແລະກ່າວວ່າ “ໄປເຖີດ—ໄປເຖີດ”
Narrator (contextual; the verse reports Suśaṅkha’s words)
Concept: Kṣamā (forbearance) and titikṣā (endurance) are marks of the sādhū; patient restraint can be a higher victory than retaliation.
Application: When repeatedly provoked, pause before reacting; respond with calm boundaries and non-escalation, keeping speech free of cruelty.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A long-suffering ascetic household scene: Suśaṅkha sits composed, hands in japa-mudrā, while a hostile woman repeatedly disrupts him—spilled water, scattered ritual items—yet his face remains serene. The moment freezes on his gentle gesture and the words ‘gaccha gaccha’—a calm dismissal that refuses to feed the fire of conflict.","primary_figures":["Suśaṅkha","Sunīthā (or the obstructing woman)"],"setting":"A simple hermitage courtyard with a small fire-altar, kusa grass seat, water pot, and tulasi shrub at the edge (as a subtle Vaiṣṇava marker).","lighting_mood":"forest dappled","color_palette":["earth-ochre","leaf green","smoke gray","saffron","soft ivory"],"tanjore_prompt":"Tanjore painting style: Suśaṅkha seated on a kusa mat beside a small yajña-kuṇḍa, calm eyes and raised palm in gentle dismissal, while the obstructing woman stands in agitated posture; gold leaf halo around the ascetic to signify inner radiance, rich vermilion and emerald textiles, ornate borders, gem-like highlights on ritual vessels.","pahari_prompt":"Pahari miniature style: a quiet hermitage scene with delicate linework—Suśaṅkha serene in meditation, the woman mid-motion scattering ritual items; cool greens and browns, lyrical trees and distant hills, refined faces showing contrast between calm and agitation.","kerala_mural_prompt":"Kerala mural style: bold outlines and expressive eyes—Suśaṅkha in saffron with composed gaze, the woman in dynamic stance; natural pigment palette with red, yellow, green; stylized altar flames and patterned foliage framing the moral drama.","pichwai_prompt":"Pichwai cloth painting style: devotional courtyard with lotus and floral borders; Suśaṅkha centered in calm posture, symbolic tulasi plant and conch motifs subtly woven; deep indigo background with gold accents, intricate textile patterns emphasizing restraint and sanctity."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["forest birds","soft wind in leaves","low temple bell in distance","crackling altar fire"]}
Sandhi Resolution Notes: तस्योपघातम् = तस्य + उपघातम्; एव + असौ = एवासौ; सोऽब्रवीत् = सः + अब्रवीत् (visarga sandhi: o’).
FAQs
It highlights kṣamā—patient forbearance and forgiveness—shown by Suśaṅkha enduring repeated harm without retaliation.
Suśaṅkha is the one who says “gaccha gaccha” (“go on, go on”), as reported by the narrator.
The verse teaches restraint under provocation: meeting wrongdoing with endurance rather than immediate vengeance, a key dharmic ideal.