Shloka 97
Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy
कालेन्विष्यां ततस्तस्मिन्नाजुहाव स तामिलाम् । बहिर्वनस्यांतरितः किल पादपमंडपे
kālenviṣyāṃ tatastasminnājuhāva sa tāmilām | bahirvanasyāṃtaritaḥ kila pādapamaṃḍape
ครั้นกาลล่วงไป เขาเสาะหาแล้วจึงเรียกหญิงชาวทมิฬผู้นั้น ณ ที่นั้น—ประหนึ่งนางซ่อนอยู่ด้านในป่า ใต้ร่มไม้ ในศาลาใบไม้ใต้หมู่พฤกษา
Narrator (third-person narrative within the Adhyaya; specific dialogue-speaker not explicit in this single verse)
Concept: Hidden actions and secluded spaces become arenas where intention is revealed; time (kāla) ripens consequences and encounters.
Application: Be mindful that delays and searches can be part of a larger unfolding; choose secluded moments for self-examination rather than concealment of wrongdoing.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: forest
Visual Art Cues: {"scene_description":"A man searches through a quiet forest until he reaches a leafy arbor formed by interlaced branches, like a natural pavilion. Just within the shadowed threshold, a Tamil woman stands partially concealed, and his voice calls her out into the open as time seems to pause among the trees.","primary_figures":["male seeker/householder","Tamil woman (tāmilā)"],"setting":"Dense forest edge with a natural bower (pādapa-maṇḍapa), creepers, broad leaves, and a narrow path leading inward.","lighting_mood":"moonlit","color_palette":["deep forest green","midnight blue","silver gray","earth brown","jasmine white"],"tanjore_prompt":"Tanjore painting style: a forest bower rendered as an ornate arch of leaves, the male figure calling with a raised hand gesture, the Tamil woman half-hidden behind foliage; gold leaf highlights on leaf edges and jewelry, rich reds and greens, decorative border with floral motifs, stylized trees like temple pillars.","pahari_prompt":"Pahari miniature style: intimate forest scene with delicate foliage, cool greens and blues, the woman peeking from within a leafy pavilion, the man on a winding path; refined facial expressions of hesitation and summons, soft atmospheric perspective.","kerala_mural_prompt":"Kerala mural style: stylized forest canopy with bold outlines, the arbor as a symmetrical leaf-arch, figures in profile with expressive eyes; earthy reds/yellows/greens, temple-wall composition emphasizing gesture and narrative clarity.","pichwai_prompt":"Pichwai cloth painting style: decorative forest grove with repeating lotus and vine patterns, the arbor framed by ornate floral borders; figures simplified and iconic, deep indigo background with gold and white highlights, peacocks perched on branches to heighten the grove’s sanctity."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["night insects","distant owl call","rustling leaves","brief silence after the call"]}
Sandhi Resolution Notes: कालेन्विष्यां = कालेन + विश्य(म्) (पाठरूप अस्पष्ट; अर्थतः ‘विश्य’); तस्मिन्नाजुहाव = तस्मिन् + आजुहाव; बहिर्वनस्यांतरितः = बहिः + वनस्याम् + अन्तरितः।
FAQs
It describes a man searching for a woman and then calling her when she is found concealed near/within the forest, seated or staying in a tree-bower (pādapamaṇḍapa).
No. This verse is primarily narrative and locational, focusing on searching, calling, and the forest setting rather than tīrtha geography or explicit doctrine.
At a basic level, it highlights persistence in seeking (anviṣya) and the importance of attentive searching before acting—common narrative cues used to move the story toward a meeting or revelation.