Shloka 43
The Meeting with Agastya
Rāma Praised by the Gods; Phalaśruti; Ideal Reign; Prelude to Agastya’s Arrival
बाणेषु गुणविश्लेषो बंधोक्तिः पुस्तके दृढा । स्नेहत्यागः खलेष्वेव न च वै स्वजने जने
bāṇeṣu guṇaviśleṣo baṃdhoktiḥ pustake dṛḍhā | snehatyāgaḥ khaleṣveva na ca vai svajane jane
تیروں میں ڈوری کے ریشے جدا ہو جاتے ہیں؛ کتاب میں جلد بندی مضبوط رہتی ہے۔ محبت کا ترک صرف بدکاروں کے لیے ہو، اپنے اہل و عیال کے لیے ہرگز نہیں۔
Unspecified (gnomic/nīti-style statement within the narrative context of Pātāla-khaṇḍa)
Concept: Detach from the wicked, not from one’s rightful kin/community; discriminate between harmful association and sacred obligation.
Application: Set boundaries with exploitative people; keep commitments to family/community when they are dhārmic; cultivate sat-saṅga and avoid corrosive company.
Primary Rasa: shanta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A split arrow-cord frays into strands in the foreground, while beside it a palm-leaf manuscript sits tightly bound with a firm cord and wooden covers. Behind them, two human figures stand contrasted: one shadowy, deceitful ‘khala’ being turned away, and one luminous ‘svajana’ being embraced with steady, restrained affection.","primary_figures":["symbolic archer’s arrow","bound manuscript (pustaka/grantha)","svajana (virtuous kin)","khala (wicked person)"],"setting":"a quiet study-courtyard near a royal armory: weapon rack on one side, manuscript shelf on the other; moral choice staged between them.","lighting_mood":"temple lamp-lit with calm, ethical clarity","color_palette":["sandalwood beige","ink black","copper brown","emerald green","soft saffron"],"tanjore_prompt":"Tanjore painting style: allegorical composition with a richly ornamented manuscript bound firmly at center, a frayed arrow-string to one side; gold leaf halos around the ‘svajana’ figure, deep reds/greens in textiles, gem-like highlights on manuscript clasps, ornate border motifs emphasizing dharma and discernment.","pahari_prompt":"Pahari miniature style: refined courtyard scene with delicate linework—an arrow with fraying cord, a neatly tied pothī manuscript, two figures in gentle gesture of loyalty; cool palette with soft saffron accents, lyrical trees and distant hills, subtle facial expressions conveying ethical resolve.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized props—arrow, cord strands, manuscript binding—paired with archetypal figures of ‘khala’ and ‘svajana’; strong reds/yellows/greens, temple-wall symmetry, didactic iconographic clarity.","pichwai_prompt":"Pichwai cloth painting style: central manuscript motif surrounded by floral borders; cords and knots rendered as decorative patterns; two flanking figures—dark and light—like moral guardians; deep indigo background with gold detailing, intricate vine work and lotus medallions."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","page-rustle","distant tanpura drone","night insects","quiet footsteps"]}
Sandhi Resolution Notes: गुणविश्लेषो = गुण-विश्लेषः (अः + ओ); बंधोक्तिः = बन्ध-उक्तिः; खलेष्वेव = खलेषु एव (उ + ए → वे); स्वजने = स्व-जने.
FAQs
It advises discernment in relationships: withdraw affection only from the wicked, while maintaining loyalty and care toward one’s own family and well-wishers.
They function as analogies: an arrow’s cord can be ‘unstranded’ (separated), whereas a book’s binding is meant to be firm—likewise, bonds should not be loosened with one’s own people, except in the case of the wicked.
No. The verse’s key qualifier is moral character: it explicitly recommends giving up affection for the wicked, implying that ethical discernment overrides mere social closeness.