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Shloka 63

The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha

तस्यैवादृश्यतां दृष्ट्वा विस्मितोभूद्द्विजस्तदा । स च साध्वीगृहं गत्वा पप्रच्छाथ पतिव्रतां

tasyaivādṛśyatāṃ dṛṣṭvā vismitobhūddvijastadā | sa ca sādhvīgṛhaṃ gatvā papracchātha pativratāṃ

तस्यैव अदृश्यतां दृष्ट्वा द्विजो विस्मितोऽभवत्। ततः स साध्वीगृहं गत्वा पतिव्रतां पप्रच्छ।

tasyaof him
tasya:
Sambandha (सम्बन्ध)
TypeNoun
Roottad (तद्-प्रातिपदिक)
FormMasculine/Neuter, Genitive (6th/षष्ठी), Singular (एकवचन)
evaindeed
eva:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rooteva (अव्यय)
FormEmphatic particle (अवधारण-निपात)
adṛśyatāminvisibility / disappearance
adṛśyatām:
Karma (कर्म)
TypeNoun
Roota + dṛśya + tā (प्रातिपदिक)
FormFeminine (स्त्रीलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन); abstract noun 'invisibility/disappearance'
dṛṣṭvāhaving seen
dṛṣṭvā:
Pūrvakāla-kriyā (पूर्वकालक्रिया)
TypeVerb
Rootdṛś (दृश्-धातु)
FormAbsolutive/Gerund (क्त्वान्त अव्यय), 'having seen'
vismitaḥastonished
vismitaḥ:
Kartṛ-samānādhikaraṇa (कर्तृसमानाधिकरण)
TypeAdjective
Rootvismita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन); predicate adjective
abhūtbecame/was
abhūt:
Kriyā (क्रिया)
TypeVerb
Rootbhū (भू-धातु)
FormImperfect (लङ्), 3rd Person (प्रथमपुरुष), Singular (एकवचन), Parasmaipada (परस्मैपद)
dvijaḥthe Brahmin
dvijaḥ:
Karta (कर्ता)
TypeNoun
Rootdvija (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन)
tadāthen
tadā:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeIndeclinable
Roottadā (अव्यय)
FormAdverb of time (कालवाचक अव्यय)
saḥhe
saḥ:
Karta (कर्ता)
TypeNoun
Roottad (तद्-प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (1st/प्रथमा), Singular (एकवचन)
caand
ca:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootca (अव्यय)
FormConjunction (समुच्चयबोधक अव्यय)
sādhvī-gṛhamthe virtuous woman's house
sādhvī-gṛham:
Karma (कर्म)
TypeNoun
Rootsādhvī + gṛha (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन); षष्ठी-तत्पुरुष: 'house of the virtuous woman'
gatvāhaving gone
gatvā:
Pūrvakāla-kriyā (पूर्वकालक्रिया)
TypeVerb
Rootgam (गम्-धातु)
FormAbsolutive/Gerund (क्त्वान्त अव्यय), 'having gone'
papracchaasked
papraccha:
Kriyā (क्रिया)
TypeVerb
Rootprach (प्रच्छ्-धातु)
FormPerfect (लिट्), 3rd Person (प्रथमपुरुष), Singular (एकवचन), Parasmaipada (परस्मैपद)
athathen/thereupon
atha:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootatha (अव्यय)
FormParticle/adverb (अनन्तरबोधक निपात)
pativratāmthe devoted wife
pativratām:
Karma (कर्म)
TypeNoun
Rootpativratā (प्रातिपदिक)
FormFeminine (स्त्रीलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन)

Narrator (contextual; verse reports events rather than direct speech)

Concept: Awe should mature into purposeful seeking; after witnessing the divine, one must proceed to the virtuous and inquire with sincerity.

Application: Convert spiritual experiences into ethical action—seek guidance, ask clear questions, and follow through.

Primary Rasa: adbhuta

Secondary Rasa: shanta

Type: city

Visual Art Cues: {"scene_description":"The brāhmaṇa stands frozen for a moment, eyes wide, as the space where Bhagavān stood is now empty—only a lingering shimmer remains. Gathering himself, he walks toward a modest home where a chaste woman resides, his posture shifting from shock to reverent determination.","primary_figures":["brāhmaṇa seeker","Śubhā (inside/approaching, implied)"],"setting":"village lane leading to a clean doorway with rangoli patterns, water pot, and flowering creepers","lighting_mood":"forest dappled","color_palette":["earth brown","jasmine white","leaf green","sunlit gold","vermillion red"],"tanjore_prompt":"Tanjore painting style: the brāhmaṇa turning from an empty radiant space toward a decorated doorway; gold leaf used to depict the fading divine shimmer, ornate borders, rich textiles, and a small shrine lamp near the threshold.","pahari_prompt":"Pahari miniature style: a winding lane with delicate trees and patterned walls; the brāhmaṇa mid-step, expression transitioning from wonder to humility, soft light and fine detailing on the doorway decorations.","kerala_mural_prompt":"Kerala mural style: strong outlines showing the brāhmaṇa’s astonished face, the empty space marked by stylized aura motifs; the house-front rendered with floral bands and traditional pigments.","pichwai_prompt":"Pichwai cloth painting style: narrative procession toward a sacred household, framed by lotus borders; peacocks and floral motifs guide the eye to the doorway, deep blue and gold accents suggesting unseen divine presence."}

Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["footsteps on earth","rustling leaves","distant bell","soft silence after conch"]}

Sandhi Resolution Notes: tasyaivādṛśyatām = tasya eva adṛśyatām; vismitobhūt = vismitaḥ abhūt (विसर्ग-लोप/सन्धि); dvijastadā = dvijaḥ tadā (विसर्ग-सन्धि: अः + त → स्त); sādhvīgṛham = sādhvī-gṛham (समास/सन्धि); papracchātha = papraccha atha.

D
dvija (brāhmaṇa)
S
sādhvī/pativratā (chaste devoted wife)

FAQs

A brāhmaṇa witnesses an extraordinary event—his (or someone’s) becoming unseen—and, amazed, he goes to a chaste woman’s home to ask her about it.

It denotes a wife renowned for fidelity and religious dedication within household dharma—often presented in Purāṇic narratives as possessing spiritual power through virtue and self-restraint.

Instead of reacting with fear or pride, he seeks understanding from a person known for virtue, implying humility, inquiry (jijñāsā), and respect for dharmic authority grounded in conduct.