Shloka 10
The Greatness of Worshiping Rādhā and Dāmodara
Kārttika Observances and Their Fruit
कदाचिज्जन्मभूमौ सा विधवा प्रति जन्मनि । भवेच्चासाद्य पूर्व्वं वै चाप्रिया स्वामिनोऽपि च
kadācijjanmabhūmau sā vidhavā prati janmani | bhaveccāsādya pūrvvaṃ vai cāpriyā svāmino'pi ca
کبھی کبھی اپنی ہی جنم بھومی میں وہ ہر جنم میں بیوہ ہو جاتی ہے؛ اور پہلے ہی بدبختی سے دوچار ہو کر، وہ اپنے شوہر کو بھی ناپسندیدہ لگنے لگتی ہے۔
Unspecified (context-dependent narration within Brahma-khaṇḍa; speaker not identifiable from this single verse alone)
Concept: Adharma and prior misdeeds can manifest as repeated widowhood and marital disharmony across births—karmic continuity as moral warning.
Application: Treat relationships as a field of dharma: cultivate fidelity, respect, and devotional discipline; use vrata and sāttvika conduct as corrective habits rather than blaming fate.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Type: city
Visual Art Cues: {"scene_description":"A somber tableau shows a woman standing in her own village courtyard, yet surrounded by symbolic echoes of repeated lifetimes—faded silhouettes of wedding garlands turning into funeral ash. The husband’s figure appears distant and displeased, while a wheel-like motif of saṁsāra turns behind them, hinting at karmic recurrence.","primary_figures":["woman (the subject of karmic consequence)","husband (symbolic)","personified Saṁsāra wheel (allegorical)"],"setting":"A rural courtyard with a threshold tulasī platform (optional), muted household objects, and a distant cremation-ground haze as symbolic overlay.","lighting_mood":"moonlit","color_palette":["ash white","indigo","dull maroon","smoky violet","pale ochre"],"tanjore_prompt":"Tanjore painting style: a domestic courtyard scene rendered with ornate framing; the woman in subdued attire, the husband turned away; symbolic garlands and ashes in the border medallions, a faint saṁsāra wheel behind; selective gold leaf on the wheel and threshold motifs to contrast with the otherwise muted palette, emphasizing moral warning.","pahari_prompt":"Pahari miniature style: delicate, melancholic village scene under cool moonlight; the woman near the doorway, husband distant; translucent overlays of past-life vignettes (wedding, widowhood) painted like mist; refined facial expressions, restrained colors, lyrical but sorrowful atmosphere.","kerala_mural_prompt":"Kerala mural style: bold outlines and expressive eyes; the woman centered with a stylized saṁsāra chakra behind, husband in profile showing displeasure; earthy reds and yellows subdued with gray washes; decorative borders carrying symbolic garland-to-ash transformation.","pichwai_prompt":"Pichwai cloth painting style: narrative border panels showing repeated life-cycles (wedding garland, broken bangles, ash), central domestic scene with the woman; deep indigo ground, intricate floral borders, symbolic motifs more than realism, moral allegory in Nathdwara decorative language."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Todi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low temple drum","wind through courtyard","distant bell","brief silences for gravity"]}
Sandhi Resolution Notes: कदाचिज्जन्मभूमौ = कदाचित् + जन्मभूमौ (त् + ज → ज्ज); भवेच्चासाद्य = भवेत् + च + आसाद्य (त् + च → च्च); स्वामिनोऽपि = स्वामिनः + अपि (ः + अ → ओऽ)
FAQs
It emphasizes karmic consequence across rebirths—recurring misfortune (widowhood) and loss of marital affection are presented as results that can repeat from life to life.
Not in this standalone excerpt. The pronoun “she” (sā) points to a woman described in the surrounding verses, which are needed to identify her.
That one’s actions and dispositions can shape recurring patterns of suffering; the text frames social and personal adversity as connected to prior causes, encouraging dharmic conduct and self-correction.