Padma Purana — Bhumi Khanda, Shloka 33
Dialogue of Gobhila and Padmāvatī: Daitya Obstruction vs. the Power of Pativratā Dharma
गते भर्तरि या ग्रामं भोगं शृंगारमेव च । लौल्याच्च कुरुते नारी पुंश्चली वदते जनः
gate bhartari yā grāmaṃ bhogaṃ śṛṃgārameva ca | laulyācca kurute nārī puṃścalī vadate janaḥ
Quando o marido está ausente, a mulher que, por volúvel cobiça, anda pela aldeia, entrega-se aos prazeres sensuais e aos adornos, é chamada pelo povo de mulher devassa.
Unspecified (narratorial/ethical instruction within Bhūmi-khaṇḍa context)
Concept: Lobha/loultya (restless craving) drives outward wandering and indulgence; society labels such conduct as adharma.
Application: Reduce stimulus-seeking when accountability is low; practice modesty and mindfulness; replace ‘adornment for attention’ with ‘adornment for worship’ (cleanliness, simple dress, japa).
Primary Rasa: raudra
Secondary Rasa: bibhatsa
Type: city
Visual Art Cues: {"scene_description":"A husband’s empty seat in the home is shown beside a quiet domestic shrine, while outside the doorway the village street glitters with market colors, music, and ornament sellers. The woman, adorned with bright jewelry, hesitates at the threshold—inside is lamp-lit dharma, outside is noisy craving—while neighbors’ sidelong glances form a ring of social judgment.","primary_figures":["woman at threshold (symbolic)","absent husband (implied by empty seat)","market folk","watchful neighbors"],"setting":"house threshold opening onto a bustling village market street with garland stalls and bangles","lighting_mood":"forest dappled","color_palette":["vermillion","turmeric yellow","indigo","brass gold","leaf green"],"tanjore_prompt":"Tanjore painting style: split-scene threshold composition—interior shrine with gold-leaf lamp and framed household symbols, exterior market with jewel stalls; the woman richly ornamented, neighbors in stylized poses; lavish gold leaf on ornaments and lamp, saturated reds/greens, temple-like borders and embossed detailing.","pahari_prompt":"Pahari miniature style: lyrical village lane with delicate figures, subtle expressions of gossip and judgment; the woman’s ornaments rendered with fine dots, interior lamp glow softly spilling onto the threshold; cool shadows, refined architecture, gentle narrative tension.","kerala_mural_prompt":"Kerala mural style: bold outlines, expressive eyes, the threshold as a strong compositional line; interior lamp and exterior market rendered in flat color fields; red-yellow-green dominance with black contouring, moral contrast conveyed through posture and gaze.","pichwai_prompt":"Pichwai cloth painting style: decorative market scene framed by floral borders; central threshold with a Tulasi planter motif and lamp, peacocks perched as witnesses; deep blue ground with gold and white detailing, intricate textile patterns and lotus vines."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["market chatter (distant)","anklet jingles","temple bell (faint)","conch shell (far)"]}
Sandhi Resolution Notes: शृंगारम्+एव → शृंगारमेव; लौल्यात्+च → लौल्याच्च (त्+च → च्च).
FAQs
It warns that acting from restless craving—seeking public outings, sensual pleasures, and erotic self-adornment while one’s spouse is away—damages one’s reputation and is condemned as immoral conduct.
No. Here “grāma” functions as a social/public setting rather than a sacred place; the verse is primarily a moral observation about behavior and reputation.
It reflects nīti-style instruction emphasizing self-restraint (saṁyama), fidelity, and guarding against laulyā (fickle craving), themes commonly used to uphold gṛhastha-dharma (householder ethics).