Shloka 61
The Episode of Cyavana
Cyavana’s Hermitage and the Power of Tapas
तव पुत्र्या महाराज चक्षुर्विस्फोटनं कृतम् । बहुसुस्राव रुधिरं जानती त्वामुवाच न
tava putryā mahārāja cakṣurvisphoṭanaṃ kṛtam | bahususrāva rudhiraṃ jānatī tvāmuvāca na
तव पुत्र्या महाराज चक्षुर्विस्फोटनं कृतम् । बहुसुस्राव रुधिरं जानती त्वामुवाच न ॥
Unspecified narrator (contextual dialogue speaker not provided in the single-verse input)
Concept: Harm compounded by concealment deepens disorder; truth-telling to rightful authority is part of dharma, especially when violence has occurred.
Application: Do not hide wrongdoing—report harm, seek restitution, and protect victims; silence can become complicity.
Primary Rasa: bibhatsa
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A tense palace interior or courtyard: a wounded figure clutches a bloodied eye as crimson streaks stain the ground, while the king stands aghast. Nearby, the daughter averts her gaze, her posture rigid with fear and secrecy, the air heavy with the unspoken truth.","primary_figures":["king (mahārāja)","daughter","injured victim","attendants/witnesses"],"setting":"royal courtyard or inner chamber with pillars, textiles, and a sense of sudden chaos","lighting_mood":"lamp-lit with harsh shadows","color_palette":["crimson","smoky black","pale ivory","royal blue","tarnished gold"],"tanjore_prompt":"Tanjore painting style: dramatic court scene with ornate pillars and gold-leaf accents; the king’s crown and jewelry gleam against a darkened background; the injured figure rendered with stylized yet intense red; the daughter shown in profile with downcast eyes; gold embossing used to contrast worldly splendor with moral darkness.","pahari_prompt":"Pahari miniature style: restrained depiction—suggest blood with minimal strokes; focus on expressions: the king’s shock, the daughter’s avoidance, the victim’s pain; architectural lines delicate; muted palette with a sharp crimson accent to signal violence.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic clarity; the injury indicated iconically rather than graphically; strong red/yellow/green blocks; the king centered, daughter slightly behind, emphasizing concealment; lamp flames stylized to cast angular shadows.","pichwai_prompt":"Pichwai cloth painting style: moral-drama panel framed by dense floral borders; deep indigo ground with gold motifs; violence suggested through symbolic red lotus petals scattered like drops; figures stylized, emphasizing dharmic lesson over realism."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["gasping crowd murmur","metallic clang (dropped ornament/weapon)","urgent footsteps","low drum","sudden silence"]}
Sandhi Resolution Notes: cakṣurvisphoṭanaṃ = cakṣuḥ + visphoṭanam; bahususrāva = bahu + susrāva; tvāmuvāca = tvām + uvāca.
FAQs
It criticizes both harmful action (causing injury) and the secondary fault of concealing the truth from an authority figure, implying accountability and truthful disclosure.
Yes. By foregrounding violence and concealment, it aligns with Purāṇic moral causality: harmful deeds and dishonesty are treated as serious faults with consequences.
From this isolated shloka alone, the speaker cannot be reliably identified. The verse addresses a “mahārāja” (great king), but the surrounding chapter context is required to name the dialogue pair.