Shloka 15
The Story of Sukalā
Episode: Ugrasena and Padmāvatī’s Return to Vidarbha
दर्शनाय प्रेषयस्व सुतां पद्मावतीं मम । यदि त्वं मन्यसे नाथ प्रीतिस्नेहं हितस्य च
darśanāya preṣayasva sutāṃ padmāvatīṃ mama | yadi tvaṃ manyase nātha prītisnehaṃ hitasya ca
Envia minha filha Padmāvatī para que eu possa vê-la — se tu, ó senhor, de fato guardas por mim afeto, amor e boa vontade.
Unspecified (speaker addressing a 'nātha' and requesting Padmāvatī be sent)
Concept: Affection (prīti-sneha) and goodwill (hita) are proven through timely, compassionate action—not merely sentiment.
Application: When someone asks for connection or reassurance, respond with concrete kindness; let love be measurable in deeds and time.
Primary Rasa: shringara
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"Inside a jeweled palace hall, a dignified petitioner folds hands and speaks softly to the lord of the court, asking that Padmāvatī be sent so the eyes may be satisfied by her sight. The moment is intimate and human—silk curtains stir, attendants pause, and the air holds the sweetness of longing restrained by etiquette.","primary_figures":["the petitioner addressing 'nātha'","a royal lord/king figure","Padmāvatī (implied, not yet present)","court attendants"],"setting":"royal audience chamber with carved pillars, lotus motifs, and a side corridor leading to the inner apartments","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","sandalwood beige","emerald green","antique gold","deep maroon"],"tanjore_prompt":"Tanjore painting style: a South Indian-inspired royal court scene with the petitioner in añjali-mudrā before a seated king on a lotus-carved throne; heavy gold leaf halos around key figures, rich red and green textiles, gem-studded ornaments, lotus borders, and ornate archways; Padmāvatī suggested as a veiled silhouette beyond a curtain, emphasizing anticipation.","pahari_prompt":"Pahari miniature style: delicate court interior with refined faces and soft shading; the petitioner leans forward in respectful appeal, the king listens thoughtfully; cool pastel walls, patterned carpets, and a glimpse of a garden through a jharokha; lyrical mood of longing with minimal ornament and precise linework.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the king seated frontally with stylized eyes, the petitioner standing with folded hands; lotus and creeper motifs on the walls, warm red/yellow/green palette, oil-lamp glow rendered as a flat aureole; emphasis on gesture and dharmic gravity.","pichwai_prompt":"Pichwai cloth painting style: palace courtyard framed by lotus borders and floral vines; central space shows the appeal scene with decorative lotuses and peacocks along the margins; deep indigo background with gold detailing; Padmāvatī symbolized by a lotus-bud motif behind a curtain, evoking ‘darśana’ as sacred sight."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft ankle-bells of attendants","distant palace fountain","gentle mridang-like pulse","brief silence after the plea"]}
Sandhi Resolution Notes: पद्मावतीं मम = पद्मावतीम् + मम (म् + म); प्रीतिस्नेहं = प्रीतिस्नेहम्; अन्यत्र स्पष्ट सन्धि नहीं
FAQs
The verse addresses a 'nātha' (lord/master), but the specific identity is not stated in the provided excerpt; it is a request within an ongoing dialogue in Bhūmi-khaṇḍa 48.
'Darśanāya' means 'for seeing' or 'for an audience/meeting,' expressing the desire to behold or meet Padmāvatī.
The speaker appeals to mutual affection and goodwill—suggesting that genuine love and concern for another’s welfare should be expressed through supportive action.