Shloka 7
Counsel to Sunīthā in the Vena Narrative: Boon for a Righteous Son and the Seed–Fruit Law of Karma
तदाप्रभृति विप्रेंद्रः पुण्यां कन्यां प्रपश्यति । यथा त्वं चारुसर्वांगी तथायं परिपश्यति
tadāprabhṛti vipreṃdraḥ puṇyāṃ kanyāṃ prapaśyati | yathā tvaṃ cārusarvāṃgī tathāyaṃ paripaśyati
นับแต่นั้น พราหมณ์ผู้ประเสริฐก็เฝ้ามองกุมารีผู้มีบุญนั้นอยู่เสมอ; ดุจดังท่านงามพร้อมทุกอวัยวะ เขาก็มองนางฉันนั้น
Unspecified narrator (context not provided in the input excerpt)
Concept: Attraction is acknowledged, but the maiden’s ‘puṇyatā’ (virtue) is foregrounded—desire is meant to be guided into dharmic marriage rather than indulgence.
Application: Let admiration be tempered by respect and responsibility; translate emotion into ethical commitment rather than fixation.
Primary Rasa: shringara
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A learned brāhmaṇa stands at a respectful distance, repeatedly glancing toward a virtuous maiden who walks with composed grace. The scene holds a tension between inner longing and outward restraint, as if dharma itself is watching the gaze.","primary_figures":["a brāhmaṇa (viprendra)","a virtuous maiden (puṇyā kanyā)"],"setting":"A courtyard near a hermitage or a dignified household—flowering trees, a low veranda, water pot and garlands suggesting purity and domestic auspiciousness.","lighting_mood":"golden dawn","color_palette":["soft saffron","jasmine white","earth brown","spring green","rose pink"],"tanjore_prompt":"Tanjore painting style: a dignified brāhmaṇa with sacred thread and palm-leaf manuscript, glancing toward a maiden adorned modestly; gold leaf accents on jewelry and architectural arch; rich warm background, floral motifs, restrained yet luminous expressions.","pahari_prompt":"Pahari miniature style: delicate, lyrical courtyard scene; the maiden in pale pink with fine ornaments, the brāhmaṇa in white with a gentle, contemplative gaze; flowering trees and birds; cool shadows and refined facial features conveying restrained emotion.","kerala_mural_prompt":"Kerala mural style: stylized figures with bold outlines; the maiden’s composed posture and the brāhmaṇa’s repeated gaze emphasized through gesture; warm red and yellow background with green foliage patterns, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: decorative courtyard framed by lotus and floral borders; the maiden centered like a lotus-stalk motif, the brāhmaṇa at the side; intricate textile patterns, symmetrical vines, deep blue accents with gold detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["birds","light breeze","anklet chime (subtle)","tanpura drone"]}
Sandhi Resolution Notes: tadāprabhṛti → tadā-prabhṛti (avyayībhāva); vipreṃdraḥ → vipra-indraḥ; cārusarvāṃgī → cāru-sarvāṅgī; tathāyaṃ → tathā ayam.
FAQs
It describes an ongoing, attentive gaze of a brāhmaṇa toward a virtuous maiden, comparing that gaze to how someone might look upon another person described as “beautiful in every limb.”
cāru-sarvāṅgī means “one whose every limb is beautiful,” i.e., a person of complete physical loveliness.
In many Purāṇic narratives, sustained “gazing” can function as a signal of rising attachment (rāga) that later requires discernment and restraint; the verse sets up that moral tension even if the resolution lies in surrounding verses.