Padma Purana — Bhumi Khanda, Shloka 6
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
ब्राह्मणानां हि च्छिद्राणि विपश्यामो दिने दिने । तेषां हि तपसो नाशं विघ्नैः कुर्मो न संशयः
brāhmaṇānāṃ hi cchidrāṇi vipaśyāmo dine dine | teṣāṃ hi tapaso nāśaṃ vighnaiḥ kurmo na saṃśayaḥ
Sesungguhnya, hari demi hari kami mengintai cela para brāhmaṇa; dan tanpa ragu kami membinasakan tapa mereka dengan menimbulkan halangan.
Unspecified (plural speaker: “we”; likely a class of obstructing beings such as vighna-kartṛs/hostile entities within the narrative context)
Concept: Spiritual life attracts tests; hostile forces exploit small lapses to disrupt tapas—therefore vigilance (apramāda) and purity are essential.
Application: Guard daily practice by reducing ‘gaps’: regulate speech, food, and company; when obstacles arise, return to mantra, prayer, and steady routine rather than resentment.
Primary Rasa: bhayanaka
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"Invisible obstructors lurk at the edge of a sage’s hermitage, their eyes sharp and calculating as they search for tiny lapses—an unguarded moment, a wavering mind. In the center, brāhmaṇas sit in meditation and fire-ritual, surrounded by a faint protective aura that flickers whenever distraction arises.","primary_figures":["Obstructing beings (vighna-kartṛs/daityas)","Brāhmaṇas performing tapas/yajña"],"setting":"Hermitage with sacred fire, meditation seats, and a quiet grove; the boundary line (rekhā) between sanctity and intrusion is visually emphasized.","lighting_mood":"temple lamp-lit with creeping shadow","color_palette":["smoky violet","ghee-lamp gold","sandalwood brown","sage green","silver ash"],"tanjore_prompt":"Tanjore painting style: central brāhmaṇas in serene tapas around a sacred fire, gold leaf highlighting the flame and protective aura; at the margins, stylized vighna-kartṛ daityas peer from shadowed foliage, rich reds/greens and ornate borders, gem-like highlights on ritual vessels, composition emphasizing sanctity besieged by subtle darkness.","pahari_prompt":"Pahari miniature style: tranquil hermitage scene with delicate trees and a small yajña-kunda; brāhmaṇas calm and luminous, while faint, semi-hidden figures watch from behind rocks and trunks, cool twilight palette with warm firelight, lyrical naturalism conveying psychological tension.","kerala_mural_prompt":"Kerala mural style: bold outlines; brāhmaṇas and fire rendered in bright ochre and red, obstructors in deep indigo/black at the periphery, strong symmetrical framing like a temple wall panel, stylized aura motifs around the tapasvins, emphasizing the cosmic struggle around dharma.","pichwai_prompt":"Pichwai cloth painting style: devotional protective tableau—central sacred fire and seated brāhmaṇas, surrounding circular border of lotus and protective motifs; obstructors appear as dark decorative silhouettes outside the border, deep blue ground with gold and white highlights, intricate floral geometry suggesting vigilance."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"grave","sound_elements":["crackling sacred fire","soft mantra undertone","night insects","distant conch","sudden hush"]}
Sandhi Resolution Notes: कुर्मो = कुर्मः (visarga-lopa in saṃhitā); no other mandatory sandhi splits.
FAQs
It depicts malicious fault-finding—constantly looking for others’ weaknesses—and the deliberate creation of obstacles that can destroy a practitioner’s tapas (austerity and spiritual momentum).
The verse uses a plural voice (“we”) without naming the speakers; in Purāṇic contexts, this commonly fits obstructing forces (vighna-kartṛs), hostile beings, or adversarial groups who seek to derail the spiritual discipline of the righteous.
It warns against the habit of searching for faults and actively undermining others’ spiritual efforts, presenting such behavior as spiritually destructive—both to the target (through vighnas) and implicitly to the perpetrators through intentional wrongdoing.