Shloka 6
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
पुरा विप्राय तेनैव दत्तं गौरीचतुष्टयम् । कन्यकात्रितयं विप्र तेन तस्य पतिव्रता
purā viprāya tenaiva dattaṃ gaurīcatuṣṭayam | kanyakātritayaṃ vipra tena tasya pativratā
Pada zaman dahulu, wahai brāhmaṇa, dia sendiri telah menghadiahkan kepada brāhmaṇa itu empat gadis jelita laksana Gaurī. Dan, wahai brāhmaṇa, dia juga memberikan tiga orang puteri; lalu wanita itu menjadi pativratā, setia kepada suaminya.
Unspecified (context-dependent narration within Adhyaya 52)
Concept: Dāna and marital arrangements (kanyā-dāna/alliances) are portrayed as potent karmic acts; pativratā-dharma is praised as stabilizing household righteousness.
Application: Honor commitments, practice generosity responsibly, and cultivate fidelity and mutual dharma in relationships; see family life as a platform for sāttvika living and worship.
Primary Rasa: shringara
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A ceremonial courtyard is prepared for gifting: garlands, water pots, and sacred fire implements arranged neatly. A dignified donor gestures toward a group of veiled maidens and daughters being entrusted with blessings, while the receiving brāhmaṇa stands with calm gravity, hands folded in acceptance of dharmic responsibility.","primary_figures":["a donor figure (unnamed)","a brāhmaṇa recipient","four fair maidens (gaurī-catuṣṭaya)","three daughters"],"setting":"Vedic household courtyard with yajña-kuṇḍa, mango-leaf toranas, and ritual vessels; attendants holding lamps and flowers.","lighting_mood":"golden dawn","color_palette":["lotus pink","ivory white","vermillion","leaf green","warm gold"],"tanjore_prompt":"Tanjore painting style: auspicious dāna scene in a palace-courtyard, figures adorned with traditional jewelry, gold leaf highlighting ornaments and ritual vessels; rich red and green textiles, symmetrical composition with a small yajña fire at center, gem-studded borders and ornate arches framing the act of gifting.","pahari_prompt":"Pahari miniature style: intimate courtyard scene with delicate facial expressions, soft pastel garments, fine floral patterns; the maidens and daughters arranged gracefully, a small sacred fire and water pot rendered with meticulous detail; gentle Himalayan-like distant hills as stylized backdrop for lyrical calm.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat yet vibrant colors; donor and brāhmaṇa in formal poses, maidens in stylized attire; ritual objects emphasized with clear iconographic shapes; warm reds/yellows/greens dominating, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: celebratory domestic dharma tableau with ornate floral borders, lotus clusters and hanging garlands; central act of dāna under a decorative canopy; peacocks at corners and intricate textile patterns, using deep blues and gold accents to sanctify the household rite."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft mridangam","women’s ululation (faint)","fire crackle","temple bells"]}
Sandhi Resolution Notes: tena+eva → tenaiva; gaurī+catuṣṭayam → gaurīcatuṣṭayam; kanyakā+tritayam → kanyakātritayam.
FAQs
This single verse does not name the speaker; the identification depends on the surrounding verses in Adhyaya 52 (often a narrator continuing a dialogue).
It highlights social-religious ideals of dāna (bestowal/gifting) and the ideal of pativratā—steadfast commitment to one’s spouse—presented as a dharmic virtue.
Not directly; it reads more like genealogical/narrative material within the Sṛṣṭikhaṇḍa, focusing on social relations and dharmic characterization rather than explicit bhakti theology.