Shloka 21
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
दिव्या देव्या मया ख्यातं यथा मे पृच्छितं त्वया । एतत्ते सर्वमाख्यातं तस्याः पूर्वविचेष्टितम्
divyā devyā mayā khyātaṃ yathā me pṛcchitaṃ tvayā | etatte sarvamākhyātaṃ tasyāḥ pūrvaviceṣṭitam
O banal na diwata, ipinaliwanag ko sa iyo ayon sa iyong pagtatanong. Lahat ng ito’y ganap kong isinalaysay sa iyo—ang nauna niyang mga gawa at asal.
Unspecified narrator (speaker not identifiable from this single verse alone)
Concept: Past conduct (pūrva-vicēṣṭita) is to be heard fully and truthfully; narration itself becomes a vehicle for moral discernment and purification through śravaṇa.
Application: Seek complete context before judging; practice attentive listening to dharmic narratives and reflect on how prior choices shape present outcomes.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A calm hermitage interior where a venerable narrator finishes recounting a woman’s former deeds to a radiant, attentive listener. Palm-leaf manuscripts lie open; the air feels still, as if the story’s moral weight has settled into silence before the next question arises.","primary_figures":["unnamed narrator-sage","divine lady (listener)"],"setting":"forest āśrama with kusa mats, low wooden stand for manuscripts, faint smoke from a small agnihotra fire","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","smoke gray","leaf green","lamp-flame amber","ink black"],"tanjore_prompt":"Tanjore painting style: a seated sage concluding a discourse to a divine lady in an āśrama, gold leaf halo around the listener, rich maroon and emerald textiles, palm-leaf manuscript details, ornate borders with lotus motifs, subtle gem-studded ornaments, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate hermitage scene with delicate brushwork, soft forest greens and cool browns, refined faces, a small sacred fire, manuscripts on a wooden stand, lyrical stillness and gentle negative space.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm ochres and greens, stylized large eyes, sage gesturing in completion, lamp-lit ambience, temple-wall texture, minimal but iconic props (manuscript, kamaṇḍalu).","pichwai_prompt":"Pichwai cloth painting style: narrative vignette framed by lotus and creeper borders, deep indigo background with gold highlights, central seated figures on a patterned cloth, peacocks at the corners, devotional calm rather than pastoral bustle."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bell","crackling fire","night insects","brief silence after the final line"]}
Sandhi Resolution Notes: देव्याः (देव्याः), एतत्ते = एतत् + ते, सर्वमाख्यातम् = सर्वम् + आख्यातम्, पूर्वविचेष्टितम् = पूर्व + विचेष्टितम् (समास)
FAQs
It signals closure or completion of a narrated account: the speaker says they have explained everything exactly as requested, including the subject’s earlier actions.
No. It uses respectful vocatives (“O divine one / O goddess”), but the specific identity is not stated in this verse alone.
It underscores faithful transmission—answering precisely what was asked—and frames the preceding narrative as complete and authoritative within the dialogue.