Shloka 58
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
अन्यद्वा स्त्रीकृते दोषे यथायोगं भवेद्ध्रुवं । निशामय प्रवक्ष्यामि तत्वतो द्विजनंदन
anyadvā strīkṛte doṣe yathāyogaṃ bhaveddhruvaṃ | niśāmaya pravakṣyāmi tatvato dvijanaṃdana
അല്ലെങ്കിൽ സ്ത്രീ ചെയ്ത ദോഷത്തിൽ, യഥായോഗ്യം ഫലം നിശ്ചയമായും സംഭവിക്കും. ഹേ ദ്വിജനന്ദന, കേൾക്കുക—ഞാൻ തത്ത്വതഃ, യഥാർത്ഥമായി, ഇതു വിശദീകരിക്കുന്നു.
Unspecified narrator/speaker addressing a brāhmaṇa (dvijānandana) within the Adhyaya’s dialogue context
Concept: Actions (doṣa) yield fitting consequences according to context; dharma requires truthful, case-sensitive discernment rather than blanket judgment.
Application: Before judging or reacting, assess context, intention, and proportionality; seek truthful counsel and apply remedies that restore harmony rather than escalate blame.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A learned narrator-sage sits on a kusa-grass seat in a quiet āśrama hall, addressing a young brāhmaṇa with calm authority. Palm-leaf manuscripts lie open as the teacher gestures gently, conveying that consequences follow dharma’s measured law.","primary_figures":["narrator-sage/ācārya","dvijānandana (young brāhmaṇa listener)"],"setting":"forest āśrama teaching pavilion with sacrificial fire nearby, manuscripts, water pot, and tulasī in the courtyard as a subtle Vaishnava sign","lighting_mood":"forest dappled","color_palette":["sandalwood beige","smoke gray","leaf green","ochre","deep maroon"],"tanjore_prompt":"Tanjore painting style: a seated ācārya with serene face instructing a young brāhmaṇa in an āśrama mandapa, stylized tulasī plant at the edge, gold leaf halo around the teacher, rich maroon and emerald textiles, gem-studded ornaments minimal and austere, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate guru-śiṣya dialogue under a flowering tree, delicate brushwork, cool greens and soft browns, refined facial features, distant blue hills, a small fire altar and palm-leaf folios, lyrical naturalism and quiet moral gravity.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm yellow-ochre skin tones, large expressive eyes, the teacher’s hand in vyākhyāna mudrā, āśrama backdrop with stylized foliage and a small tulasī platform, temple-wall aesthetic with red/yellow/green dominance.","pichwai_prompt":"Pichwai cloth painting style: Vaishnava-inflected teaching scene framed by lotus and floral borders, subtle peacocks at corners, deep indigo background with gold highlights, a small tulasī shrine motif, ornate textile patterns while keeping the figures calm and contemplative."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bell","crackling sacrificial fire","forest birds","gentle silence between phrases"]}
Sandhi Resolution Notes: anyadvā → anyat + vā; bhaveddhruvaṃ → bhavet + dhruvam; strīkṛte treated as tatpurusha compound strī+kṛte; dvijanaṃdana → dvija+nandana.
FAQs
It introduces a rule-of-thumb in dharma discourse: when an offence is attributed to a woman, the result or remedy should be determined case-by-case (yathāyogam), and the speaker will now explain the principle truthfully.
“Dvijānandana” literally means “delight/son of the twice-born,” a respectful address to a brāhmaṇa or a learned person belonging to the twice-born varṇas.
No. It functions as a transition: it states that an appropriate, definite outcome applies and invites the listener to hear the forthcoming detailed explanation.