Shloka 61
The Glory of Bhārata-varṣa: Enumerating Mountains, Rivers, and Regions
सकृघृहाः कुलट्याश्च हूणा पारसिकैः सह । तथैव रमणाश्चान्यास्तथा च दशमालिकाः
sakṛghṛhāḥ kulaṭyāśca hūṇā pārasikaiḥ saha | tathaiva ramaṇāścānyāstathā ca daśamālikāḥ
اسی طرح وہ عورتیں جو مرد کے گھر صرف ایک بار جاتی ہیں، اور بدچلن عورتیں؛ نیز ہُون پارسیکوں کے ساتھ؛ اور دوسری عیش پسند عورتیں، اور دَشَمالِکا بھی (مذکور ہیں)۔
Not specified in the provided excerpt (context needed from surrounding verses of Svargakhaṇḍa 3.6).
Concept: Unrestrained sensuality and breach of fidelity are portrayed as signs of adharma; social health depends on self-control (dama) and chastity (śīla).
Application: Practice boundaries: guard speech and desire, cultivate faithful relationships, and use devotional routines (japa, kīrtana) to redirect restless senses.
Primary Rasa: karuna
Secondary Rasa: bibhatsa
Type: earthly
Visual Art Cues: {"scene_description":"A sage teaches beneath a banyan tree while two contrasting vignettes appear: on one side, a household with lamp-lit fidelity and calm; on the other, a shadowed alley of temptation symbolizing moral drift. In the distance, foreign riders and banners hint at the Hūṇa–Pārasika frontier, blending social and geographic ‘otherness’ into a single moral panorama.","primary_figures":["Purāṇic sage narrator","disciples","symbolic household couple","shadow-figures representing temptation","Hūṇa and Pārasika riders (distant)"],"setting":"Āśrama courtyard with banyan tree; split-vignette moral tableau; far horizon with steppe riders.","lighting_mood":"temple lamp-lit","color_palette":["lamp gold","ink black","earth brown","saffron cloth","dusky violet"],"tanjore_prompt":"Tanjore painting style: central sage with gold halo, two side panels—one of a virtuous household with gold-lit lamps, another of shadowy figures in muted tones—gold leaf emphasizing dharma symbols (conch, chakra motifs) and ornate borders, rich reds/greens, jewel-like highlights.","pahari_prompt":"Pahari miniature style: narrative split-scene with delicate brushwork, intimate domestic interior glowing warm, contrasting cool shadowed exterior, distant steppe riders painted small against pale hills, refined faces and lyrical trees.","kerala_mural_prompt":"Kerala mural style: bold outlines, strong color blocks for the two moral vignettes, expressive eyes, decorative temple border, dharma symbols stylized, distant riders simplified into iconic silhouettes.","pichwai_prompt":"Pichwai cloth painting style: central sage medallion, surrounding border of moral allegory panels with lotus separators, deep indigo background with gold floral tracery, peacocks and cows as auspicious counterpoint to the darker panel, intricate Nathdwara-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["single bell strikes","low mridangam pulse","night insects","brief silence between phrases"]}
Sandhi Resolution Notes: kulaṭyāḥ + ca → kulaṭyāśca; ramaṇāḥ + ca → ramaṇāśca; ca + anyāḥ → cānyāḥ; tatha + eva → tathaiva.
FAQs
They are ethnonyms: Hūṇas commonly refer to Central Asian groups known in early medieval Indian sources, while Pārasikas generally denotes Persians/people from Persia. Purāṇic lists often mention such groups in catalog-style passages.
The verse appears to be part of a broader catalog or classification passage, grouping certain social types and named communities together. Without adjacent verses, the precise doctrinal point (e.g., moral evaluation, eligibility, or description) cannot be fixed with certainty.
Kulaṭyā (from kulaṭā) typically means an unchaste woman, often implying adultery or sexual impropriety. In Purāṇic ethical contexts it usually functions as a moral descriptor rather than a neutral social label.