Shloka 22
भर्त्सनां तु यथाकामं कुर्य्याच्चाहं सुनिंदिता । किंचिन्न वदसि स्वामिन्नेनो यन्मे न विद्यते
bhartsanāṃ tu yathākāmaṃ kuryyāccāhaṃ suniṃditā | kiṃcinna vadasi svāminneno yanme na vidyate
“Tuan boleh memarahi aku sekehendak hati; aku memang sangat dicela. Namun, wahai tuanku, engkau tidak mengatakan walau sedikit—apakah kesalahan pada diriku yang aku belum ketahui?”
Unspecified (a female speaker addressing her husband/lord as “svāmin” in a dialogue context)
Concept: Accepting censure is not the same as understanding one’s fault; true correction requires clear naming of wrongdoing and guidance toward expiation.
Application: When criticized, ask for specific feedback and actionable correction; do not hide behind vague shame—seek clarity and commit to change.
Primary Rasa: karuna
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A charged domestic confrontation: the woman stands with head bowed yet voice firm, accepting scolding while pleading for a clear statement of her fault. The husband’s posture is stern, one hand raised in admonition, the other resting near prayer beads—suggesting the tension between judgment and the possibility of dharmic counsel.","primary_figures":["female speaker (Kalipriya/unnamed)","husband (svāmin)"],"setting":"home interior with a visible threshold—symbol of crossing from transgression to reform; a small altar and prayer beads indicate the dharmic axis","lighting_mood":"forest dappled (light through window) mixed with lamp glow","color_palette":["burnt sienna","mustard yellow","deep brown","pale jasmine","dark teal"],"tanjore_prompt":"Tanjore painting style: dramatic two-figure composition—husband seated in authoritative pose with raised hand of rebuke; woman standing/bowing with expressive eyes and folded cloth edge in hand; gold-leaf accents on beads, lamp, and altar; rich reds and greens with ornate borders, emphasizing moral gravity and the possibility of counsel.","pahari_prompt":"Pahari miniature style: subtle psychological tension—soft interior, patterned textiles; husband’s admonishing gesture restrained; woman’s face turned slightly upward in pleading; cool palette with warm highlights, delicate linework capturing shame and insistence on clarity.","kerala_mural_prompt":"Kerala mural style: iconic confrontation—bold outlines, stylized gestures; woman’s bowed head and open palms; husband’s raised hand; shrine elements simplified; strong reds/yellows/greens with black contours, emphasizing dharma-śikṣā atmosphere.","pichwai_prompt":"Pichwai cloth painting style: narrative band scene with floral borders; above, a small medallion of Dāmodara indicating the devotional resolution beyond rebuke; deep blues and gold, intricate motifs, peacocks subdued, lotuses half-closed to reflect shame and introspection."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["sharp intake of breath","bracelet clink","lamp flame","tense silence"]}
Sandhi Resolution Notes: कुर्य्याच्चाहं → कुर्यात् च अहम् (t + c sandhi; orthographic doubling). किंचिन्न → किञ्चित् न. स्वामिन्नेनो → स्वामिन् एनः (n→nn before vowel in writing). यन्मे → यत् मे (t→n before m).
FAQs
It highlights a plea for clarity and fairness in judgment: the speaker accepts reprimand but asks to be told the specific fault, emphasizing honest communication and self-examination.
Yes. It implies that blame should be accompanied by reasons, and that moral correction is most meaningful when the alleged wrongdoing is clearly identified rather than left as vague condemnation.
It means “the fault that I do not know (in myself).” The line reflects the inner demand for truth: if there is guilt, it must be knowable and named so that reform and understanding can occur.