Shloka 9
चिकीर्षितं ते किमिदं पतिस्त्वया । प्रलंभितो लोकनमस्कृतो मुनिः । त्वया जराग्रस्तमसंमतं पतिं । विहाय जारं भजसेऽमुमध्वगम्
cikīrṣitaṃ te kimidaṃ patistvayā | pralaṃbhito lokanamaskṛto muniḥ | tvayā jarāgrastamasaṃmataṃ patiṃ | vihāya jāraṃ bhajase'mumadhvagam
നീ എന്താണ് ചെയ്യാൻ ഉദ്ദേശിക്കുന്നത്? ലോകം നമസ്കരിക്കുന്ന മുനിരൂപനായ ഭർത്താവിനെ നീ വഞ്ചിച്ചു. ജരാഗ്രസ്തനായി ക്ഷീണിച്ച, ഇനി നിനക്കു സമ്മതമല്ലാത്ത ഭർത്താവിനെ വിട്ട് നീ ഈ വഴിയാത്രക്കാരനായ ജാരനെ ആശ്രയിക്കുന്നു.
Uncertain from the single-verse excerpt (a reproachful speaker addressing a woman); likely within a dialogue narrative of Pātālakhaṇḍa.
Concept: Adultery and deception toward a venerable spouse violate strī-dharma and āśrama-dharma; worldly reverence for a sage heightens the gravity of betrayal.
Application: Do not rationalize harm by calling it ‘personal happiness’; examine whether desire is transient like a traveler and whether it breaks trust and duty.
Primary Rasa: raudra
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A stern elder or courtly reproacher points toward a veiled woman standing beside a rugged traveler with dust on his garments. In the background, a venerable sage-husband sits aged and withdrawn, his aura of tapas dimmed by betrayal, while the air feels heavy with judgment.","primary_figures":["reproaching speaker (elder/counselor)","the woman of noble birth","the aged sage-husband","the traveler-lover (adhvaga)"],"setting":"palace courtyard opening to a road; a hermitage corner visible with kusa grass seat and water pot","lighting_mood":"forest dappled","color_palette":["ash gray","saffron ochre","dusty brown","dark teal","muted gold"],"tanjore_prompt":"Tanjore painting style: dramatic moral tableau—an elder admonishing, finger raised; the woman in ornate attire yet downcast; the traveler-lover with dusty cloak; the aged sage seated with kamandalu; gold leaf used to contrast the sage’s sanctity against the shadowed figures, rich reds/greens and heavy jewelry details.","pahari_prompt":"Pahari miniature style: narrative split-scene—foreground accusation, background hermitage with the aged muni; delicate expressions, restrained palette, lyrical road winding into hills, subtle moral tension conveyed through posture and gaze.","kerala_mural_prompt":"Kerala mural style: bold outlines, intense eyes—reproacher in commanding stance, woman conflicted, traveler restless; sage-husband seated in tapas posture; warm earthy pigments with stark contrasts to heighten raudra rasa.","pichwai_prompt":"Pichwai cloth painting style: moral allegory framed by lotus and vine borders; a small Viṣṇu emblem above as silent witness; figures arranged like a procession—speaker admonishing, woman between dharma (sage) and desire (traveler); deep blues and gold with intricate textile motifs."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sharp hand cymbal accents","tense silence between lines","distant wind","footsteps on road"]}
Sandhi Resolution Notes: पतिस्त्वया = पतिः + त्वया; भजसेऽमुमध्वगम् = भजसे + अमुम् + अध्वगम् (ऽ = अ-लोप/अवग्रह)। लोकनमस्कृतः = लोकैः नमस्कृतः (षष्ठी-तत्पुरुषार्थः)।
FAQs
It condemns deceiving a socially revered husband and abandoning him—especially when he is aged—in favor of an illicit lover, framing it as a breach of dharma.
It indicates the husband is a sage respected by society, so the wrongdoing is portrayed as both personal betrayal and a moral offense against a venerable figure.
“Adhvaga” suggests a wayfarer or transient person, emphasizing the instability and impropriety of choosing a passing liaison over a legitimate household bond.