Shloka 16
The Greatness of Worshiping Rādhā and Dāmodara
Kārttika Observances and Their Fruit
अन्यदेशं गमिष्यावः संकेतमकरोद्द्विज । सुप्तस्य स्वामिनो रात्रौ चासिना तद्गलं द्विज
anyadeśaṃ gamiṣyāvaḥ saṃketamakaroddvija | suptasya svāmino rātrau cāsinā tadgalaṃ dvija
“अन्यदेशं गमिष्यावः” इति द्विजः संकेतं कृत्वा; रात्रौ स्वामिनः सुप्तस्य तद्गलं चासिना छित्त्वा, हे द्विज, तस्थौ।
Narrator (within the Purāṇic frame; exact dialogue speaker not specified in the provided excerpt)
Concept: When adharma matures into hiṃsā, it destroys both victim and perpetrator; betrayal of the ‘svāmin’ (protector/master) is a grave breach of trust with severe karmic recoil.
Application: Do not entertain conspiratorial counsel; cut off toxic alliances; seek lawful, compassionate exits from conflict rather than secret harm.
Primary Rasa: bhayanaka
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A chilling night scene: the household sleeps under heavy shadows while a sword glints coldly in the murderer’s hand. The victim lies unaware, and the moment of throat-cutting is framed not as gore but as stark silhouette—emphasizing the moral horror and the irreversible severing of dharma.","primary_figures":["paramour (as ‘dvija’ conspirator)","sleeping husband (victim)","wife (off-scene or partially hidden, complicit presence)"],"setting":"sleeping chamber with low cot, hanging cloth, small extinguished lamp, moonlight slicing through a lattice","lighting_mood":"moonlit","color_palette":["steel gray","ink black","pale moon-silver","dried-blood maroon","ashen white"],"tanjore_prompt":"Tanjore painting style: nocturnal moral-drama with gold leaf used sparingly on the sword’s edge and moon halo; strong chiaroscuro; figures stylized with traditional ornamentation but grim expressions; ornate border framing the scene like a cautionary panel in a temple corridor.","pahari_prompt":"Pahari miniature style: restrained depiction—silhouettes and minimal blood, focus on tension; moonlit interior with delicate architectural lines; cool palette, refined faces conveying fear and cruelty; a distant owl perched on the roofline.","kerala_mural_prompt":"Kerala mural style: bold outlines, dramatic posture of the assailant, wide expressive eyes; deep blacks and reds; stylized moon disc; temple-wall narrative panel feel with moral emphasis.","pichwai_prompt":"Pichwai cloth painting style: symbolic night panel—dark indigo field with silver moon motifs; the sword rendered as a bright diagonal; floral borders tightened like a net; peacocks absent, replaced by austere vine patterns to convey dread."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairav","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sudden silence","distant dog bark","wind through lattice","single sharp cymbal accent"]}
Sandhi Resolution Notes: सङ्केतमकरोत् = सङ्केतम् + अकरोत्; अकरोद्द्विज = अकरोत् + द्विज (त् + द् → द्द्); चासिना = च + असिना; तद्गलम् = तत् + गलम् (त् + ग् → द्ग्).
FAQs
It narrates a planned departure to another land and a betrayal: the master is killed at night while asleep, his throat cut with a sword.
It illustrates adharma—treachery and violence against one’s benefactor/master—typically used in Purāṇic narratives to warn of grave moral consequences.
“Dvija” means “twice-born,” a common address to a Brahmin or learned interlocutor; here it functions as a vocative within the narration.