Shloka 115
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
तस्याः संसर्गतश्चैव दुहितैव प्रमन्यते । स्तनौ तस्यास्तु पृष्ठे च लगन्तौ च पुनःपुनः
tasyāḥ saṃsargataścaiva duhitaiva pramanyate | stanau tasyāstu pṛṣṭhe ca lagantau ca punaḥpunaḥ
അവളുടെ അടുത്ത സഹവാസം മൂലം അവൾ അവന്റെ പുത്രിയെന്നപോലെ തന്നെ കരുതപ്പെടുന്നു; അവളുടെ സ്തനങ്ങൾ വീണ്ടും വീണ്ടും അവന്റെ പുറത്ത് ചേർന്നു പതിക്കുന്നു.
Unspecified narrator (context not provided in the input snippet)
Concept: Improper intimacy and confused relational roles (as daughter/mother) are portrayed as socially and morally destabilizing, foreshadowing renunciation of sensual association.
Application: Maintain clear ethical boundaries in relationships; treat attraction as something to be disciplined rather than indulged, especially when it harms social order.
Primary Rasa: bibhatsa
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A tense domestic interior where a woman sits rigidly, her posture unnaturally drawn, while the onlooker’s gaze conveys shock at a bodily reversal—breasts pressed toward the back as if nature itself protests a taboo bond. The atmosphere is hushed, with attendants half-hidden behind pillars, whispering, as the scene suggests moral confusion rather than romance.","primary_figures":["Bhadra (woman)","unnamed male companion/householder","astonished attendants/neighbors"],"setting":"city house interior with carved wooden pillars, curtained alcove, oil lamp on a low stand, faint courtyard visible beyond","lighting_mood":"temple lamp-lit","color_palette":["smoky umber","lamp-gold","muted vermilion","ashen grey","deep indigo"],"tanjore_prompt":"Tanjore painting style: an uneasy domestic tableau inside a South Indian mansion—Bhadra seated with an unnatural backward turn of the torso suggesting breasts pressed toward the back, a startled young man recoiling slightly, attendants peering from behind pillars; heavy gold leaf halo-like lamp glow, rich reds and greens in textiles, gem-studded ornaments, ornate arch framing the scene, traditional iconographic stylization with moral-drama emphasis.","pahari_prompt":"Pahari miniature style: intimate chamber scene with delicate brushwork—Bhadra in subdued attire, the male figure looking bewildered, attendants whispering near a latticed window; cool restrained palette with lyrical interior details, fine facial expressions, patterned rugs, and a quiet courtyard beyond, conveying taboo and wonder without explicitness.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments—Bhadra and the male figure in a palace-like interior, exaggerated expressive eyes showing shock and restraint; red/yellow/green palette, lamp-lit ambience, stylized pillars and floral borders, narrative clarity with symbolic bodily distortion rendered discreetly.","pichwai_prompt":"Pichwai cloth painting style: symbolic moral scene framed by lotus and vine borders—central figures in a domestic pavilion, attendants at the margins; deep blues and gold accents, intricate floral motifs, peacocks perched on the pavilion edge as silent witnesses, the bodily strangeness suggested through posture and drapery rather than explicit anatomy."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low temple bell","hushed whispers","oil-lamp crackle","distant city night sounds","silence between phrases"]}
Sandhi Resolution Notes: संसर्गतश्चैव = संसर्गतः + च + एव; दुहितैव = दुहिता + एव; तस्यास्तु = तस्याः + तु
FAQs
It describes a relationship being socially/ritually recognized as daughterhood due to close association, and uses a striking physical image to emphasize a recurring bodily condition.
Not directly in this isolated verse; it reads as narrative description within the Sṛṣṭikhaṇḍa rather than explicit devotional instruction.
The speaker cannot be identified reliably from the single-verse excerpt alone; the surrounding verses are needed to determine whether it is Pulastya–Bhīṣma, Śiva–Pārvatī, or a general narrator frame.