Shloka 58
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
अन्यद्वा स्त्रीकृते दोषे यथायोगं भवेद्ध्रुवं । निशामय प्रवक्ष्यामि तत्वतो द्विजनंदन
anyadvā strīkṛte doṣe yathāyogaṃ bhaveddhruvaṃ | niśāmaya pravakṣyāmi tatvato dvijanaṃdana
یا پھر، اگر عورت سے کوئی خطا سرزد ہو جائے تو معاملے کے مطابق اس کا مناسب نتیجہ یقیناً ظاہر ہوتا ہے۔ سنو—اے دِوِج نندن—میں حقیقت کے مطابق سچائی سے اسے بیان کرتا ہوں۔
Unspecified narrator/speaker addressing a brāhmaṇa (dvijānandana) within the Adhyaya’s dialogue context
Concept: Actions (doṣa) yield fitting consequences according to context; dharma requires truthful, case-sensitive discernment rather than blanket judgment.
Application: Before judging or reacting, assess context, intention, and proportionality; seek truthful counsel and apply remedies that restore harmony rather than escalate blame.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A learned narrator-sage sits on a kusa-grass seat in a quiet āśrama hall, addressing a young brāhmaṇa with calm authority. Palm-leaf manuscripts lie open as the teacher gestures gently, conveying that consequences follow dharma’s measured law.","primary_figures":["narrator-sage/ācārya","dvijānandana (young brāhmaṇa listener)"],"setting":"forest āśrama teaching pavilion with sacrificial fire nearby, manuscripts, water pot, and tulasī in the courtyard as a subtle Vaishnava sign","lighting_mood":"forest dappled","color_palette":["sandalwood beige","smoke gray","leaf green","ochre","deep maroon"],"tanjore_prompt":"Tanjore painting style: a seated ācārya with serene face instructing a young brāhmaṇa in an āśrama mandapa, stylized tulasī plant at the edge, gold leaf halo around the teacher, rich maroon and emerald textiles, gem-studded ornaments minimal and austere, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate guru-śiṣya dialogue under a flowering tree, delicate brushwork, cool greens and soft browns, refined facial features, distant blue hills, a small fire altar and palm-leaf folios, lyrical naturalism and quiet moral gravity.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm yellow-ochre skin tones, large expressive eyes, the teacher’s hand in vyākhyāna mudrā, āśrama backdrop with stylized foliage and a small tulasī platform, temple-wall aesthetic with red/yellow/green dominance.","pichwai_prompt":"Pichwai cloth painting style: Vaishnava-inflected teaching scene framed by lotus and floral borders, subtle peacocks at corners, deep indigo background with gold highlights, a small tulasī shrine motif, ornate textile patterns while keeping the figures calm and contemplative."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bell","crackling sacrificial fire","forest birds","gentle silence between phrases"]}
Sandhi Resolution Notes: anyadvā → anyat + vā; bhaveddhruvaṃ → bhavet + dhruvam; strīkṛte treated as tatpurusha compound strī+kṛte; dvijanaṃdana → dvija+nandana.
FAQs
It introduces a rule-of-thumb in dharma discourse: when an offence is attributed to a woman, the result or remedy should be determined case-by-case (yathāyogam), and the speaker will now explain the principle truthfully.
“Dvijānandana” literally means “delight/son of the twice-born,” a respectful address to a brāhmaṇa or a learned person belonging to the twice-born varṇas.
No. It functions as a transition: it states that an appropriate, definite outcome applies and invites the listener to hear the forthcoming detailed explanation.