Shloka 3
The Origin of the Lauhitya River
and the King of Tīrthas
एकाकिनः सतस्तस्य देवागारे विनिष्कृते । पत्युर्गृहात्परं गेहं गंतुं सायं समुद्यता
ekākinaḥ satastasya devāgāre viniṣkṛte | patyurgṛhātparaṃ gehaṃ gaṃtuṃ sāyaṃ samudyatā
ครั้นเมื่อสามีของนางออกไปตามลำพัง และนางได้ประกอบบูชาในเทวาลัยเสร็จสิ้นแล้ว ครั้นยามเย็นนางจึงเตรียมออกจากเรือนของสามีไปยังเรือนอื่น
Unspecified (narrative voice within Adhyaya 55 context)
Concept: Ritual completion does not end ethical vigilance; liminal times (evening) and liminal movements (between houses) require heightened awareness.
Application: After prayer, keep the mind guarded; avoid risky situations at vulnerable times; align movement and choices with safety, modesty, and clarity.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Type: temple
Visual Art Cues: {"scene_description":"A small village temple stands quiet as evening descends; a woman steps out after finishing worship, her lamp extinguished, the last incense thread curling into the dusk. She walks from her husband’s house toward another dwelling, the path narrowing between trees and shadowed walls, suggesting an approaching moral and emotional trial.","primary_figures":["woman (yuvatī nārī)","temple priest or silent deity presence (optional)"],"setting":"village devāgāra with threshold steps, oil lamps, dusk pathway between homes","lighting_mood":"moonlit","color_palette":["twilight violet","lamp-gold","smoke-gray","deep green","earth brown"],"tanjore_prompt":"Tanjore painting style: temple threshold at dusk with ornate pillars, the woman departing after pūjā holding a small offering plate, gold-leaf accents on temple lamps and deity niche, rich reds/greens in architectural details, dramatic contrast between sacred interior glow and darkening street outside.","pahari_prompt":"Pahari miniature style: delicate twilight village scene—small shrine, soft violet sky, the woman walking along a narrow path, lyrical trees and rooftops, subtle emotional tension, refined facial features and gentle gradients of dusk.","kerala_mural_prompt":"Kerala mural style: stylized temple façade with bold outlines, the woman in profile stepping out, strong red/yellow/green pigments, patterned borders, twilight indicated by deep indigo banding and lamp motifs.","pichwai_prompt":"Pichwai cloth painting style: temple-and-path vignette framed by floral borders, lotus motifs near the shrine, deep blues and gold for dusk and lamps, intricate textile patterns on garments, devotional ambiance with narrative suspense."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["evening crickets","distant temple bell","soft footsteps","wind through leaves"]}
Sandhi Resolution Notes: satastasya = sataḥ + tasya (विसर्ग-लोप/सन्धि); पत्युर्गृहात्परम् = patyuḥ + gṛhāt + param (विसर्ग-लोप; त् + प्); अन्यत्र स्पष्ट-सन्धि न्यूनम्।
FAQs
It narrates that after completing worship in a temple, a woman prepares in the evening to leave her husband’s house and go to another residence.
It is primarily narrative, but it indirectly highlights temple worship (devāgāra) as a regular practice, which is a common devotional backdrop in Purāṇic storytelling.
The verse sets up a situation involving movement from the husband’s home to another place at evening, a narrative detail often used in Purāṇas to frame discussions on propriety, intention, and household ethics—though the explicit lesson depends on the surrounding verses.