Shloka 111
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
बाढमेतद्वचस्तात यथाभीष्टं तथा कुरु । ततो भार्यां जगादाथ अस्य वाक्याच्छिवाशिवम्
bāḍhametadvacastāta yathābhīṣṭaṃ tathā kuru | tato bhāryāṃ jagādātha asya vākyācchivāśivam
“ठीक आहे, प्रिय—जसे तुला अभिष्ट तसेच कर.” मग त्याच्या वचनास उत्तर देत तो पत्नीला म्हणाला—शुभाशुभ वाणी.
Unspecified (narrative voice; the verse reports dialogue but does not name the speaker in isolation).
Concept: Consent and intention shape karmic weight; words can be simultaneously ‘auspicious’ in form yet ‘inauspicious’ in consequence when dharma is strained.
Application: When agreeing to someone’s wish, consider downstream harm; speak kindly but do not bless what violates conscience.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"In a private chamber beyond the court, a man turns from public resolve to intimate counsel, addressing his wife with a voice that sounds gentle yet carries a shadow of consequence. The wife listens, half-lit by an oil lamp, as the air feels both protective and ominous—‘auspicious words’ that may open an inauspicious path.","primary_figures":["husband (unnamed)","wife (unnamed)"],"setting":"inner palace room with oil lamp, curtained doorway, low couch, ritual vessels on a shelf","lighting_mood":"temple lamp-lit","color_palette":["lamp-flame amber","sandalwood beige","dark teal","rose madder","bronze"],"tanjore_prompt":"Tanjore painting style: intimate palace interior with a seated wife and standing husband speaking; gold leaf on lamp halo, jewelry, and curtain borders; rich reds/greens, ornate textiles, stylized lotus patterns; expressions restrained but emotionally charged.","pahari_prompt":"Pahari miniature style: delicate indoor scene with soft gradients, the couple near a small lamp; fine textile patterns, gentle facial features, a hint of night sky through a lattice window; narrative subtlety emphasizing mixed omen.","kerala_mural_prompt":"Kerala mural style: bold outlines, warm pigments; the lamp as central motif with stylized flame; large-eyed figures, decorative borders, auspicious symbols (kalasha, lotus) juxtaposed with darker background tones to suggest aśiva undertone.","pichwai_prompt":"Pichwai cloth painting style: domestic counsel framed by floral borders and lotus creepers; deep blue ground with gold highlights; ornamental symmetry, peacock motifs on curtain edges; devotional textile aesthetic applied to a moral narrative moment."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["oil lamp crackle","distant palace hush","soft anklets","night insects"]}
Sandhi Resolution Notes: बाढम् + एतत् + वचः → बाढमेतद्वचः. वाक्यात् + शिवाशिवम् → वाक्याच्छिवाशिवम् (त् + श → च्छ).
FAQs
This standalone verse does not explicitly name the speaker; it narrates that someone assents (“So be it…”) and then speaks to his wife. Identification requires the surrounding verses of Adhyaya 50.
It literally means “auspicious and inauspicious,” i.e., words concerning both favorable and unfavorable outcomes, or good and ill.
It suggests consent or permission within a dialogue context, followed by a consequential discussion with the spouse—implying that choices lead to outcomes (good or ill), a common dharmic framing.