Shloka 42
The Glory of the Devoted Wife (Pativratā) and the Māṇḍavya Curse: Sunrise Halted and Restored
अद्याहं मे गृहं शून्यं करिष्यामि च त्वद्भयात् । स चागच्छतु ते भर्त्ता स चास्मान्प्राप्य गच्छतु
adyāhaṃ me gṛhaṃ śūnyaṃ kariṣyāmi ca tvadbhayāt | sa cāgacchatu te bharttā sa cāsmānprāpya gacchatu
วันนี้เพราะเกรงท่าน ข้าพเจ้าจะทำเรือนของข้าพเจ้าให้ว่างเปล่า ให้สามีของท่านมาที่นี่ แล้วเมื่อได้พบพวกเราแล้ว ก็จงให้เขาไปตามทางของตน
Unspecified (speaker not identifiable from the single verse alone)
Concept: Fear-driven action and social avoidance can momentarily avert conflict but does not resolve underlying adharma; household space (gṛha) is treated as a moral arena where conduct has consequences.
Application: Do not let fear dictate ethical decisions; seek transparent, dharmic resolution rather than evasive maneuvers that enable further wrongdoing.
Primary Rasa: bhayanaka
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A tense domestic threshold scene: a wary householder gestures toward an emptied courtyard, servants quietly removing lamps and vessels as if to erase signs of habitation. In the doorway, a veiled woman stands rigid, the air thick with suspicion as the speaker insists the husband come and depart quickly after a brief meeting.","primary_figures":["unnamed householder/speaker","the woman (sādhvī/pativratā figure in narrative)","the husband (implied)"],"setting":"North Indian village home with a central courtyard, threshold (dvāra), and dim inner rooms; household items being carried out to make the house ‘śūnya’.","lighting_mood":"lamp-lit with anxious shadows","color_palette":["smoke gray","oil-lamp amber","deep maroon","dusty ochre","indigo night"],"tanjore_prompt":"Tanjore painting style: a dramatic doorway scene in a courtyard house, the speaker with raised palm in warning, attendants carrying away brass vessels to ‘empty’ the home; rich reds and greens, heavy gold leaf borders, gem-like highlights on ornaments, stylized architecture and patterned floor, intense facial expressions conveying fear and coercion.","pahari_prompt":"Pahari miniature style: delicate night-time courtyard with cool indigo wash, the woman at the threshold and the speaker pointing toward an emptied interior; fine linework, lyrical domestic details (pots, lamp, lattice window), restrained gestures, subtle psychological tension, distant trees and a pale moon.","kerala_mural_prompt":"Kerala mural style: bold outlined figures at a house entrance, expressive eyes, warm lamp glow against dark interior; natural pigment palette with red/ochre/green, ornamental borders, simplified yet powerful hand gestures indicating fear and command.","pichwai_prompt":"Pichwai cloth painting style: symbolic domestic courtyard framed by lotus and floral borders; narrative figures rendered with ornate textiles, deep blue background with gold accents; incorporate subtle Vaishnava motifs (small tulasi sprig near threshold, conch pattern in border) to hint at dharma vs. adharma tension."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low murmurs","distant dogs","oil lamp crackle","footsteps on stone","tense silence"]}
Sandhi Resolution Notes: अद्याहं = अद्य + अहम्; त्वद्भयात् = त्वद्+भयात् (समास); चागच्छतु = च + आगच्छतु; चास्मान्प्राप्य = च + अस्मान् + प्राप्य.
FAQs
From this verse alone, the speaker cannot be determined with certainty; identifying the speaker requires the surrounding narrative context of Adhyaya 51.
The verse conveys a tension between fear and social duty: despite fear, the speaker still permits the husband to come and then depart after meeting them, reflecting concern for propriety and controlled conduct.
Not directly. This śloka is primarily conversational and situational; it does not explicitly mention devotion (bhakti), a deity, or a sacred geography (tīrtha) within its own wording.