Shloka 5
The Account of Sukalā and the Greatness of Nārī-tīrtha
Wife-Assisted Śrāddha and Pitṛ-Liberation
स गार्हस्थ्यं विलोप्यैव एकाकी विचरेद्वनम् । विफलो जायते लोके तं न मन्यंति देवताः
sa gārhasthyaṃ vilopyaiva ekākī vicaredvanam | viphalo jāyate loke taṃ na manyaṃti devatāḥ
ຖ້າຊາຍຜູ້ໃດລະທິ້ງທຳແຫ່ງຄະຫັດ ແລ້ວເດີນພະເນຈອນຢູ່ປ່າຄົນດຽວ ຜູ້ນັ້ນຈະເປັນຜູ້ໄຮ້ຜົນໃນໂລກ; ເທວະທັງຫຼາຍກໍບໍ່ຍົກຍ້ອງເຂົາ
Unspecified (contextual narrator/teacher voice within Bhūmi-khaṇḍa discourse)
Concept: Renunciation that negates one’s rightful station and responsibilities becomes spiritually unproductive; the devas honor dharma-aligned life, not performative withdrawal.
Application: Before major life changes, examine motives and obligations; cultivate devotion and ethical responsibility where you are, and let renunciation arise as a mature stage rather than escapism.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: forest
Visual Art Cues: {"scene_description":"A lone ascetic figure walks into a dense forest carrying a staff and waterpot, yet his shadow falls back toward a distant village where sacred fires and family life glow faintly. Above, subtle celestial beings turn their faces away, suggesting that mere flight from duty does not earn divine regard.","primary_figures":["a solitary would-be renunciant","subtle devas (as witnessing presences)"],"setting":"edge of a forest with a distant village and a barely visible household altar-fire; banyan and sal trees, fallen leaves, a path dividing home and wilderness","lighting_mood":"forest dappled","color_palette":["deep moss green","smoke gray","earth brown","muted saffron","twilight indigo"],"tanjore_prompt":"Tanjore painting style: a solitary ascetic at the forest threshold, staff and kamandalu in hand, with a distant gṛha altar-fire and faint village silhouettes; devas in the upper register turning away in gentle admonition; gold leaf embellishment on the altar flame and divine halos, rich reds and greens, gem-studded ornaments on celestial figures, traditional South Indian iconographic framing.","pahari_prompt":"Pahari miniature style: lyrical forest edge with delicate foliage, a lone wanderer on a winding path, distant village with tiny sacrificial smoke; cool greens and indigos, refined facial features, soft atmospheric perspective, subtle celestial onlookers in pale washes.","kerala_mural_prompt":"Kerala mural style: bold black outlines of the forest threshold, the solitary figure rendered with stylized anatomy, devas in the top band with expressive eyes; natural pigment palette dominated by greens, ochres, and reds; temple-wall aesthetic with ornamental borders around the moral scene.","pichwai_prompt":"Pichwai cloth painting style: symbolic composition—forest on one side, household altar on the other—ornate floral borders and lotus motifs; deep blues and gold; celestial witnesses above; though Krishna-centered conventions are adapted, keep Nathdwara-like intricacy and devotional ornamentation."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["soft temple bell","forest birds","distant household fire crackle","brief silence"]}
Sandhi Resolution Notes: विलोप्यैव → विलोप्य + एव; विचरेद्वनम् → विचरेत् + वनम्.
FAQs
It warns that renunciation that merely abandons one’s gṛhastha responsibilities—without proper qualification and dharmic transition—becomes spiritually unproductive and socially ineffective.
Because dharma is upheld through rightly performed duties; abandoning one’s ordained obligations is portrayed as a breach of āśrama-dharma, so it is not endorsed as meritorious by the devatās.
Do not treat spirituality as escapism: progress should come through disciplined, appropriate stages of life and responsibility, rather than impulsive withdrawal from duties.