Shloka 113
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
अनंतरं क्षपायां च यदुक्तं च तथाकृतम् । योषितोर्मध्यगः सोपि नित्यं स्वपिति धार्मिकः
anaṃtaraṃ kṣapāyāṃ ca yaduktaṃ ca tathākṛtam | yoṣitormadhyagaḥ sopi nityaṃ svapiti dhārmikaḥ
Depois, também à noite, tudo o que foi dito foi feito conforme; e aquele homem justo, deitado entre as duas mulheres, dorme continuamente.
Unspecified narrator (contextual speaker not provided in the excerpt)
Concept: Mechanical compliance (‘as said, so done’) can coexist with inner ethical dissonance; ‘dhārmika’ as a label is tested by intimate conduct.
Application: Do not hide behind procedure or social permission; examine whether actions align with conscience and higher principles.
Primary Rasa: bibhatsa
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"A dimly lit inner chamber at night: a man lies rigidly between two women, eyes closed, the posture suggesting forced compliance rather than peace. The lamp throws long shadows across silk sheets and carved bedposts, making the scene feel tense and morally claustrophobic, as if dharma itself is holding its breath.","primary_figures":["dhārmika man (unnamed)","two women (unnamed)"],"setting":"night-time palace bedchamber with oil lamp, carved wooden bed, heavy curtains, faint moonlight through lattice","lighting_mood":"moonlit","color_palette":["charcoal black","lamp amber","dusky violet","muted gold","pale silver"],"tanjore_prompt":"Tanjore painting style: nocturnal chamber with ornate bed and lamp; gold leaf on bed carvings and jewelry; rich but subdued reds/greens toned down by dark background; expressions restrained, emphasizing moral tension rather than sensuality; traditional iconographic symmetry with dramatic shadowing.","pahari_prompt":"Pahari miniature style: intimate night interior with delicate shading, cool moonlight entering through jali window; fine textile patterns; figures rendered with psychological nuance—stillness, discomfort, and narrative ambiguity.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized forms; the lamp as central motif; deep reds and greens against dark ground; large eyes closed or half-closed to convey inner conflict; decorative borders intensifying the enclosed feeling.","pichwai_prompt":"Pichwai cloth painting style: night chamber framed by dense floral borders; deep indigo cloth ground with gold highlights; stylized bed and curtains; peacock motifs subdued; emphasis on pattern and symbolism (lotus buds closed at night) to mirror moral constriction."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["night silence","distant owl","lamp crackle","soft curtain movement"]}
Sandhi Resolution Notes: अनंतरं → अनन्तरम् (पाठभेद/लिप्यन्तर). यत् + उक्तम् → यदुक्तम्. तथा + कृतम् → तथाकृतम्. सः + अपि → सोपि. योषितोः + मध्यगः → योषितोर्मध्यगः (ः + म → र्म्).
FAQs
The verse refers to a dhārmikaḥ (righteous man) but does not name him in the provided excerpt; identification depends on the surrounding verses of Adhyaya 50.
It states that what had been spoken was carried out, and that the righteous man sleeps continually while lying between two women.
In isolation, it juxtaposes the label 'dhārmika' with a potentially morally ambiguous situation, suggesting the need to read the broader narrative context before drawing conclusions about dharma.