Shloka 27
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
कौपीनेन समायुक्तः पाणिपात्रो दिगंबरः । गृहद्वारं समाश्रित्य चित्रायाः परिसंश्रितः
kaupīnena samāyuktaḥ pāṇipātro digaṃbaraḥ | gṛhadvāraṃ samāśritya citrāyāḥ parisaṃśritaḥ
May suot na kaupinam lamang, ang mga kamay ang kaniyang limos-mangkok, at hubad sa iba pa; lumapit siya sa pintuan ng bahay at tumigil malapit kay Citrā.
Narrator (contextual; specific dialogue pair not explicit from single verse)
Concept: Renunciation is marked by minimal possessions and dependence on alms; the householder’s dharma is tested at the threshold.
Application: Keep a mindset of service at home: offer water, shade, and kind words to those who arrive in need; practice non-judgment and generosity.
Primary Rasa: shanta
Secondary Rasa: karuna
Type: city
Visual Art Cues: {"scene_description":"At a humble doorway, the ascetic stands with only a kaupīna, his hands cupped as a begging-bowl, body dusted by travel. Citrā is nearby, half in shadow, noticing the silent figure at the threshold where household life meets the wild freedom of renunciation.","primary_figures":["wandering siddha (digambara, kaupīna-dhārī)","Citrā"],"setting":"doorway of a modest house with a small veranda; earthen pots; a faint rangoli/threshold marking; sparse courtyard","lighting_mood":"temple lamp-lit shade against bright exterior sun","color_palette":["terracotta","smoke gray","leaf green","lamp-flame amber","deep indigo"],"tanjore_prompt":"Tanjore painting style: Citrā at the doorway gazing upon a kaupīna-clad ascetic with staff; gold leaf highlights on the doorway arch and aura; rich maroon and green textiles for Citrā, minimal ash-gray tones for the ascetic; ornate border with lotus motifs; devotional stillness emphasized through symmetrical composition.","pahari_prompt":"Pahari miniature style: intimate domestic threshold scene; Citrā in delicate garments stands near a wooden doorframe; the ascetic, spare and dignified, holds his hands as pātra; fine brushwork on facial expressions, soft shadows under the veranda, muted earth palette with cool blues.","kerala_mural_prompt":"Kerala mural style: bold outlines; Citrā with stylized eyes and jewelry; ascetic with shaved head and staff; flat ochre background with green foliage; doorway rendered like a temple-panel frame; warm reds and yellows dominate with black contouring.","pichwai_prompt":"Pichwai cloth painting style: doorway framed by elaborate floral borders and lotus creepers; Citrā and the ascetic centered; deep blue ground with gold ornamentation; peacocks on the roof edge; subtle conch-and-lotus motifs in the border to hint at Vaiṣṇava sanctity of hospitality."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft courtyard silence","distant birds","earthen pot clink","faint conch from afar (optional)"]}
Sandhi Resolution Notes: गृहद्वारं = गृह-द्वारम् (षष्ठी-तत्पुरुष).
FAQs
It depicts radical renunciation: minimal clothing (kaupīna), begging with one’s hands (pāṇipātra), and the digambara ideal—signaling detachment from possessions and social display.
The threshold is the conventional place for a mendicant to seek alms without intruding into household space, reflecting restraint, humility, and social dharma around bhikṣā.
From this single śloka, Citrā is identifiable as a named female figure near whose house/space the ascetic stands; fuller identification (role, lineage, narrative function) depends on surrounding verses in Adhyaya 86.