Shloka 47
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
तत्समाचक्ष्व भगवन्श्रोतुमिच्छामि तत्त्वतः । श्रीभगवानुवाच । तासां च गमनं कृत्वा तप्तां लोहस्य पुत्तलद्यं
tatsamācakṣva bhagavanśrotumicchāmi tattvataḥ | śrībhagavānuvāca | tāsāṃ ca gamanaṃ kṛtvā taptāṃ lohasya puttaladyaṃ
Dia berkata: “Wahai Bhagavan, jelaskanlah kepadaku; aku ingin mendengarnya menurut kebenaran.” Śrī Bhagavān bersabda: “Setelah pergi kepada mereka, dilakukan suatu perbuatan yang berkaitan dengan arca besi yang dipanaskan.”
Unclear from excerpt; verse explicitly marks a response as 'Śrī Bhagavān' (the Blessed Lord). The questioner is addressing 'bhagavan'.
Concept: The response introduces an extreme, fearsome corrective act involving a heated iron effigy—signaling that some transgressions demand terrifying consequences or drastic penance within the narrative’s moral universe.
Application: Let the mind register consequences before action; cultivate safeguards (vows, accountability, sāttvika habits) so one never approaches such precipices.
Primary Rasa: bhayanaka
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A divine instructor speaks with uncompromising clarity as attendants hold a glowing iron effigy, its surface radiating heat like a miniature sun. The penitent stands at a distance, face pale, while the air shimmers with heat-haze—an image of karma made tangible and terrifying.","primary_figures":["Śrī Bhagavān (as instructor)","a penitent dvija","attendants holding a heated iron effigy"],"setting":"Mythic court or hermitage-altar space with a brazier, tongs, and ritual implements","lighting_mood":"divine radiance","color_palette":["molten orange","iron gray","ember red","smoky violet","burnished gold"],"tanjore_prompt":"Tanjore painting style: Bhagavān seated with commanding gesture, halo in gold leaf; attendants present a heated iron effigy glowing orange-red; the penitent dvija stands with folded hands; ornate arch with gold leaf, rich crimson and emerald textiles, gem-studded ornaments, dramatic contrast between cool background and fiery centerpiece.","pahari_prompt":"Pahari miniature style: refined courtly-hermitage hybrid; delicate depiction of heat shimmer around the iron effigy; cool blues and violets offset the ember glow; expressive but restrained faces; fine linework and lyrical composition.","kerala_mural_prompt":"Kerala mural style: bold outlines; stylized flames and brazier; Bhagavān’s large eyes and authoritative posture; strong red/yellow/green pigments with intense orange for the effigy; temple-wall symmetry and iconographic clarity.","pichwai_prompt":"Pichwai cloth painting style: symbolic central fiery effigy framed by lotus and flame motifs; deep indigo cloth ground with gold highlights; minimal figures, emphasizing the moral emblem; intricate floral borders and subtle śaṅkha-cakra patterns."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairav","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["crackling fire","metal clink","conch shell (brief)","tense silence"]}
Sandhi Resolution Notes: tatsamācakṣva → tat samācakṣva; bhagavanśrotumicchāmi → bhagavan śrotum icchāmi; śrībhagavānuvāca → śrī-bhagavān uvāca.
FAQs
The excerpt explicitly indicates 'Śrī Bhagavān uvāca'—the Blessed Lord is speaking. The exact identities of the Lord and the questioner cannot be confirmed from this single shloka alone without surrounding verses.
'Tattvataḥ' means “in truth / according to reality,” indicating the listener wants an accurate, principled explanation rather than hearsay or mere story.
The pāda containing 'taptāṃ lohasya puttaladyaṃ' appears metrically and lexically irregular, suggesting a possible scribal corruption or variant (e.g., puttalikā). A reliable translation needs comparison with critical editions or multiple manuscripts and the immediate narrative context.