Shloka 7
Counsel to Sunīthā in the Vena Narrative: Boon for a Righteous Son and the Seed–Fruit Law of Karma
तदाप्रभृति विप्रेंद्रः पुण्यां कन्यां प्रपश्यति । यथा त्वं चारुसर्वांगी तथायं परिपश्यति
tadāprabhṛti vipreṃdraḥ puṇyāṃ kanyāṃ prapaśyati | yathā tvaṃ cārusarvāṃgī tathāyaṃ paripaśyati
اسی وقت سے وہ برہمنوں میں افضل اُس نیک دوشیزہ کو دیکھتا ہی رہتا ہے؛ جیسے تم ہر عضو میں حسین ہو، ویسے ہی وہ اُسے نظر بھر کر تکتا ہے۔
Unspecified narrator (context not provided in the input excerpt)
Concept: Attraction is acknowledged, but the maiden’s ‘puṇyatā’ (virtue) is foregrounded—desire is meant to be guided into dharmic marriage rather than indulgence.
Application: Let admiration be tempered by respect and responsibility; translate emotion into ethical commitment rather than fixation.
Primary Rasa: shringara
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A learned brāhmaṇa stands at a respectful distance, repeatedly glancing toward a virtuous maiden who walks with composed grace. The scene holds a tension between inner longing and outward restraint, as if dharma itself is watching the gaze.","primary_figures":["a brāhmaṇa (viprendra)","a virtuous maiden (puṇyā kanyā)"],"setting":"A courtyard near a hermitage or a dignified household—flowering trees, a low veranda, water pot and garlands suggesting purity and domestic auspiciousness.","lighting_mood":"golden dawn","color_palette":["soft saffron","jasmine white","earth brown","spring green","rose pink"],"tanjore_prompt":"Tanjore painting style: a dignified brāhmaṇa with sacred thread and palm-leaf manuscript, glancing toward a maiden adorned modestly; gold leaf accents on jewelry and architectural arch; rich warm background, floral motifs, restrained yet luminous expressions.","pahari_prompt":"Pahari miniature style: delicate, lyrical courtyard scene; the maiden in pale pink with fine ornaments, the brāhmaṇa in white with a gentle, contemplative gaze; flowering trees and birds; cool shadows and refined facial features conveying restrained emotion.","kerala_mural_prompt":"Kerala mural style: stylized figures with bold outlines; the maiden’s composed posture and the brāhmaṇa’s repeated gaze emphasized through gesture; warm red and yellow background with green foliage patterns, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: decorative courtyard framed by lotus and floral borders; the maiden centered like a lotus-stalk motif, the brāhmaṇa at the side; intricate textile patterns, symmetrical vines, deep blue accents with gold detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["birds","light breeze","anklet chime (subtle)","tanpura drone"]}
Sandhi Resolution Notes: tadāprabhṛti → tadā-prabhṛti (avyayībhāva); vipreṃdraḥ → vipra-indraḥ; cārusarvāṃgī → cāru-sarvāṅgī; tathāyaṃ → tathā ayam.
FAQs
It describes an ongoing, attentive gaze of a brāhmaṇa toward a virtuous maiden, comparing that gaze to how someone might look upon another person described as “beautiful in every limb.”
cāru-sarvāṅgī means “one whose every limb is beautiful,” i.e., a person of complete physical loveliness.
In many Purāṇic narratives, sustained “gazing” can function as a signal of rising attachment (rāga) that later requires discernment and restraint; the verse sets up that moral tension even if the resolution lies in surrounding verses.