Shloka 119
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
केचिद्भद्रं बोधयन्तो युवानोपि सुविस्मिताः । केचिदाहुस्त्वया दत्ता तया सार्द्धं स्वपित्यसौ
kecidbhadraṃ bodhayanto yuvānopi suvismitāḥ | kecidāhustvayā dattā tayā sārddhaṃ svapityasau
کچھ لوگ—اگرچہ جوان تھے—بھدر کو جگاتے ہوئے بہت حیران ہوئے۔ کچھ نے کہا، “تم نے اسے اس کے حوالے کیا ہے؛ اسی لیے وہ اس کے ساتھ ہی سو رہا ہے۔”
Unclear from the single verse (context needed from surrounding verses in Adhyaya 50).
Concept: Collective perception and speech (‘people say…’) can reveal moral anomalies; astonishment signals a breach of expected dharmic norms.
Application: Be cautious of actions that create confusion or harm reputation; verify facts before speaking; use community feedback as a mirror without becoming cruel or gossipy.
Primary Rasa: adbhuta
Secondary Rasa: hasya
Type: city
Visual Art Cues: {"scene_description":"A cluster of young men crowd around a sleeping figure named Bhadra, shaking him gently, their faces split between disbelief and nervous laughter. Nearby, others point toward a woman’s house and whisper an explanation, the street alive with rumor and moral alarm.","primary_figures":["Bhadra (sleeping figure)","young townsmen","whispering onlookers"],"setting":"city street outside a house, with a low threshold, hanging garlands, and neighbors gathered in small knots","lighting_mood":"moonlit","color_palette":["midnight blue","silver white","muted marigold","brick red","shadow violet"],"tanjore_prompt":"Tanjore painting style: moonlit street scene—Bhadra asleep on a low cot near a doorway, young men leaning in with astonished gestures, others whispering and pointing; gold leaf used sparingly for jewelry and architectural trim, rich reds/greens in garments, dramatic facial expressions, ornate border framing the gossip-circle.","pahari_prompt":"Pahari miniature style: nocturnal neighborhood vignette—cool blues and silvers, delicate faces showing surprise and restrained amusement; small groups conversing, a sleeping Bhadra rendered with gentle lines, architectural details like latticed windows and sloped roofs, lyrical yet tense mood.","kerala_mural_prompt":"Kerala mural style: bold outlines, high-contrast night palette—sleeping Bhadra, clustered youths with expressive eyes, pointing hands; stylized house façade, decorative borders, narrative clarity like a temple mural panel.","pichwai_prompt":"Pichwai cloth painting style: symbolic night gathering framed by lotus borders—figures arranged in rhythmic clusters, deep indigo ground with gold floral motifs; peacocks on a parapet, the sleeping figure central, whispers suggested through hand gestures and flowing scarf-lines."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Khamaj","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["night insects","soft laughter under breath","whispered voices","distant dog bark","single bell chime"]}
Sandhi Resolution Notes: केचिद्भद्रम् = केचित् + भद्रम्; युवानोपि = युवानः + अपि; केचिदाहुः = केचित् + आहुः; त्वया दत्ता (no sandhi); स्वपित्यसौ = स्वपिति + असौ.
FAQs
From this verse alone, Bhadra appears to be a person being awakened; identifying precisely who Bhadra is requires the immediate narrative context of Adhyaya 50 (preceding and following verses).
It depicts onlookers reacting with surprise: some attempt to wake Bhadra, while others interpret the situation as legitimate because he was “given” to a woman and is therefore sleeping with her.
The verse hints at social judgment and competing interpretations of propriety—some intervene (trying to wake), while others justify the act by appealing to a prior grant/consent (“given by you”).