Shloka 45
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
एतत्ते सर्वमाख्यातं दिव्यादेव्या विचेष्टितम् । अन्यत्किन्ते प्रवक्ष्यामि यत्त्वं पृच्छसि मामिह
etatte sarvamākhyātaṃ divyādevyā viceṣṭitam | anyatkinte pravakṣyāmi yattvaṃ pṛcchasi māmiha
ทั้งหมดนี้เราได้กล่าวแก่ท่านแล้ว ถึงกิจอัศจรรย์ของทิวยาเทวี บัดนี้ท่านยังจะให้เรากล่าวสิ่งใดอีก ในเรื่องที่ท่านถามเราที่นี่
Unspecified narrator/sage (speaker not identifiable from single verse alone)
Concept: Purāṇic transmission: the teacher completes one account and invites further inquiry, emphasizing śravaṇa (listening) and praśna (questioning) as dharmic learning modes.
Application: Ask precise questions of qualified teachers; study dharma through narrative exempla and apply lessons gradually.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A sage sits on a deer-skin seat beneath a banyan, palm-leaf manuscripts beside him, as the king-listener bows with folded hands. The sage’s gesture is inviting—one story concluded, another about to begin—while the air feels calm, like a page turning in a sacred book.","primary_figures":["sage-narrator","king (listener)"],"setting":"forest āśrama with banyan tree, kusa mats, water pot (kamaṇḍalu), palm-leaf manuscripts, small sacrificial fire","lighting_mood":"forest dappled","color_palette":["sage green","warm ochre","bark brown","sunlit gold","ink black"],"tanjore_prompt":"Tanjore painting style: sage in an āśrama under a stylized banyan, manuscripts and kamaṇḍalu rendered with gold leaf highlights, king seated respectfully, ornate arch framing the scene, rich reds/greens with traditional South Indian decorative borders.","pahari_prompt":"Pahari miniature style: tranquil hermitage scene with delicate foliage, sage speaking and gesturing to continue, king listening with folded hands, soft mountain-like horizon, refined facial features, gentle naturalism and pastel palette.","kerala_mural_prompt":"Kerala mural style: teacher-student dialogue in an āśrama, bold outlines, sage and king in symmetrical composition, warm red/yellow/green pigments, mural border bands with lotus and conch motifs.","pichwai_prompt":"Pichwai cloth painting style: narrative dialogue framed by intricate floral borders, banyan and lotus motifs, central sage with manuscripts, king in devotion, deep blue background with gold linework and stylized birds."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["crackling sacrificial fire","rustling leaves","soft bell","measured silence between phrases"]}
Sandhi Resolution Notes: एतत्+ते→एतत्ते; सर्वम्+आख्यातम्→सर्वमाख्यातम्; दिव्या+देव्याः→दिव्यादेव्या; अन्यत्+किम्+ते→अन्यत्किन्ते; यत्+त्वम्→यत्त्वम्; माम्+इह→मामिह
FAQs
This single verse does not contain explicit speaker markers (e.g., a named sage or deity). In the Padma Purāṇa, such lines typically occur within a larger dialogue; identifying the speaker requires the surrounding verses of Adhyaya 86.
It refers to the extraordinary deeds, manifestations, or wondrous activities attributed to the divine Goddess (Devī), emphasizing her transcendent power and sacred agency in the narrative.
It signals completion of one topic and invites the questioner to continue inquiry—modeling attentive listening, respectful questioning, and the step-by-step transmission of sacred knowledge.