Shloka 17
Means to Attain Vaikuṇṭha: The Glory of House-Donation and the Viṣṇudūtas–Yamadūtas Episode
परामृष्यैतधृद्यंतः कोटपालभयाद्द्विज । नगरं नागता सा हि रुद्धे लोकपथे तमैः
parāmṛṣyaitadhṛdyaṃtaḥ koṭapālabhayāddvija | nagaraṃ nāgatā sā hi ruddhe lokapathe tamaiḥ
Dengan menyimpan hal itu di dalam hati dan merenungkannya, wahai Brāhmaṇa, dia tidak pergi ke kota kerana takut akan para penjaga pintu; kerana jalan umum telah terhalang oleh kegelapan.
Narrator (contextual voice within the Purāṇic narration; specific dialogue pair not explicit in this single verse)
Concept: When discernment is clouded by tamas and fear, one avoids the path that could lead to correction; delay becomes the doorway for karma to ripen.
Application: Do not let fear of social ‘gatekeepers’ or inner shame prevent seeking help, confession, or a corrective practice; take one clear step toward light (satsaṅga, japa, vrata).
Primary Rasa: bhayanaka
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"A lone woman pauses at the edge of a city road, clutching her shawl as the public way disappears into a thick, unnatural darkness. Distant gate-towers and watchful silhouettes suggest ‘gatekeepers’ as both literal guards and inner judgment, while the road itself looks swallowed by shadow.","primary_figures":["a fearful woman","shadowy gatekeepers","suggested personified Darkness (tamas) as a veil-like presence"],"setting":"city outskirts with a main road (lokapatha), gate-towers, and a darkened crossroads","lighting_mood":"moonlit but smothered, oppressive gloom","color_palette":["ink black","smoky indigo","ashen gray","muted ochre","cold silver"],"tanjore_prompt":"Tanjore painting style: a dramatic moral tableau at a city gate—woman halted on the lokapatha swallowed by stylized dark clouds; ornate gate-towers with gold leaf highlights; symbolic darkness rendered as layered black-indigo bands; rich reds/greens in architectural borders; gem-like accents on the gate while the road remains unlit, emphasizing tamas.","pahari_prompt":"Pahari miniature style: delicate night scene at a city threshold, cool indigo wash over the road, fine linework for anxious posture and distant guards; sparse trees and a winding path fading into darkness; lyrical negative space conveying fear and hesitation.","kerala_mural_prompt":"Kerala mural style: bold outlines of the woman at the gate, exaggerated expressive eyes, stylized darkness as swirling black-blue forms blocking the road; temple-like architectural motifs on the gate; earthy reds, yellows, and greens contrasted with deep indigo shadows.","pichwai_prompt":"Pichwai cloth painting style: symbolic lokapatha as a floral-bordered path abruptly covered by dark lotus-petal motifs; city gate framed with intricate borders; peacocks absent or subdued to heighten dread; deep blues and blacks with gold detailing to show the moral ‘night’ before redemption."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant wind","soft footfalls","tense silence","faint gate creak"]}
Sandhi Resolution Notes: parāmṛṣyaitat = parāmṛṣya + etat; koṭapālabhayāddvija = koṭapālabhayāt + dvija (t/d sandhi); nāgatā = na + āgatā.
FAQs
It depicts a woman who, after reflecting, avoids going to the city because she fears the gatekeepers and because the public road is obstructed by darkness.
The verse highlights how external obstacles (darkness, blocked routes) and social fears (guards/gatekeepers) can deter action, suggesting the need for discernment and safe timing or guidance.
Not directly; it functions as narrative detail within the Brahma-khaṇḍa. Any theological reading would depend on the broader episode in Adhyaya 6.