Shloka 119
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
केचिद्भद्रं बोधयन्तो युवानोपि सुविस्मिताः । केचिदाहुस्त्वया दत्ता तया सार्द्धं स्वपित्यसौ
kecidbhadraṃ bodhayanto yuvānopi suvismitāḥ | kecidāhustvayā dattā tayā sārddhaṃ svapityasau
ບາງຄົນ—ແມ່ນແຕ່ໜຸ່ມ—ກໍພິສວົງຢ່າງຫຼາຍ ເມື່ອພະຍາຍາມປຸກພັດຣາ; ບາງຄົນກ່າວວ່າ “ເຈົ້າໄດ້ມອບເຂົາໃຫ້ນາງແລ້ວ, ດັ່ງນັ້ນເຂົາຈຶ່ງນອນຮ່ວມກັບນາງ”
Unclear from the single verse (context needed from surrounding verses in Adhyaya 50).
Concept: Collective perception and speech (‘people say…’) can reveal moral anomalies; astonishment signals a breach of expected dharmic norms.
Application: Be cautious of actions that create confusion or harm reputation; verify facts before speaking; use community feedback as a mirror without becoming cruel or gossipy.
Primary Rasa: adbhuta
Secondary Rasa: hasya
Type: city
Visual Art Cues: {"scene_description":"A cluster of young men crowd around a sleeping figure named Bhadra, shaking him gently, their faces split between disbelief and nervous laughter. Nearby, others point toward a woman’s house and whisper an explanation, the street alive with rumor and moral alarm.","primary_figures":["Bhadra (sleeping figure)","young townsmen","whispering onlookers"],"setting":"city street outside a house, with a low threshold, hanging garlands, and neighbors gathered in small knots","lighting_mood":"moonlit","color_palette":["midnight blue","silver white","muted marigold","brick red","shadow violet"],"tanjore_prompt":"Tanjore painting style: moonlit street scene—Bhadra asleep on a low cot near a doorway, young men leaning in with astonished gestures, others whispering and pointing; gold leaf used sparingly for jewelry and architectural trim, rich reds/greens in garments, dramatic facial expressions, ornate border framing the gossip-circle.","pahari_prompt":"Pahari miniature style: nocturnal neighborhood vignette—cool blues and silvers, delicate faces showing surprise and restrained amusement; small groups conversing, a sleeping Bhadra rendered with gentle lines, architectural details like latticed windows and sloped roofs, lyrical yet tense mood.","kerala_mural_prompt":"Kerala mural style: bold outlines, high-contrast night palette—sleeping Bhadra, clustered youths with expressive eyes, pointing hands; stylized house façade, decorative borders, narrative clarity like a temple mural panel.","pichwai_prompt":"Pichwai cloth painting style: symbolic night gathering framed by lotus borders—figures arranged in rhythmic clusters, deep indigo ground with gold floral motifs; peacocks on a parapet, the sleeping figure central, whispers suggested through hand gestures and flowing scarf-lines."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Khamaj","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["night insects","soft laughter under breath","whispered voices","distant dog bark","single bell chime"]}
Sandhi Resolution Notes: केचिद्भद्रम् = केचित् + भद्रम्; युवानोपि = युवानः + अपि; केचिदाहुः = केचित् + आहुः; त्वया दत्ता (no sandhi); स्वपित्यसौ = स्वपिति + असौ.
FAQs
From this verse alone, Bhadra appears to be a person being awakened; identifying precisely who Bhadra is requires the immediate narrative context of Adhyaya 50 (preceding and following verses).
It depicts onlookers reacting with surprise: some attempt to wake Bhadra, while others interpret the situation as legitimate because he was “given” to a woman and is therefore sleeping with her.
The verse hints at social judgment and competing interpretations of propriety—some intervene (trying to wake), while others justify the act by appealing to a prior grant/consent (“given by you”).