Padma Purana — Bhumi Khanda, Shloka 33
Yayāti Ensnared by Desire: Gandharva Marriage, Aśvamedha, and the Demand to See the Worlds
साधुसाधुवरारोहेपुण्यमेवप्रभाषसे । स्त्रीस्वभावाच्चचापल्यात्कौतुकाच्चवरानने
sādhusādhuvarārohepuṇyamevaprabhāṣase | strīsvabhāvāccacāpalyātkautukāccavarānane
Hay lắm, hay lắm! Hỡi phu nhân cao quý bước đi duyên dáng, nàng chỉ thốt lời thiện lành, đầy công đức. Nhưng hỡi người mặt ngọc, do bản tính nữ nhi—bởi sự chòng chành và chỉ vì hiếu kỳ—(nên mới như vậy).
Unspecified (male speaker addressing a woman; likely within a dialogue context of Bhūmi-khaṇḍa)
Concept: Even when speech is virtuous, motives like caprice and curiosity can distort discernment; praise should be paired with viveka (discrimination).
Application: Before acting on a desire or request, examine intention: is it dharmic resolve or momentary curiosity? Offer counsel without harshness.
Primary Rasa: shanta
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"A refined domestic court scene: a dignified man offers gentle praise to a noble woman seated on a low jeweled seat, his hand raised in a calm, instructive gesture. The woman’s face shows bright curiosity, while attendants and a faintly visible Tulasi pot in the courtyard hint at Vaishnava household piety.","primary_figures":["noble woman (varārohe/varānane)","male counselor/speaker","attendants"],"setting":"palatial veranda opening to an inner courtyard with a small Tulasi-vṛndāvana and hanging oil lamps","lighting_mood":"temple lamp-lit","color_palette":["ivory white","lotus pink","emerald green","antique gold","indigo"],"tanjore_prompt":"Tanjore painting style: a palace veranda dialogue where a calm male counselor praises a noble lady yet cautions her about fickleness and curiosity; gold leaf halos, rich maroon drapery, emerald pillars, gem-studded ornaments, a small Tulasi-vṛndāvana in the courtyard, ornate borders and embossed gold detailing.","pahari_prompt":"Pahari miniature style: intimate courtly conversation on a veranda, delicate brushwork and refined faces; the lady’s curious gaze contrasted with the man’s composed admonition; cool palette with indigo shadows, pale pink textiles, a tiny Tulasi plant in a clay pot, distant garden trees and birds.","kerala_mural_prompt":"Kerala mural style: bold black outlines and temple-wall aesthetic; the speaker’s hand in upadeśa-mudrā, the lady adorned with traditional jewelry; warm red-yellow-green pigments, stylized lotus motifs, and a Tulasi pedestal at the edge of the scene.","pichwai_prompt":"Pichwai cloth painting style: Vaishnava household courtyard with ornate floral borders and lotus motifs; central figures in dialogue near a Tulasi-vṛndāvana, peacocks at the threshold, deep blue background with gold highlights, Nathdwara-inspired textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft anklets","oil-lamp crackle","distant temple bell","courtyard birds"]}
Sandhi Resolution Notes: साधुसाधुवरारोहेपुण्यमेवप्रभाषसे → साधु साधु वरारोहे पुण्यम् एव प्रभाषसे। स्त्रीस्वभावाच्चचापल्यात्कौतुकाच्चवरानने → स्त्रीस्वभावात् च चापल्यात् कौतुकात् च वरानने।
FAQs
It praises virtuous, meritorious speech while also noting that impulsiveness and curiosity can influence one’s words or actions.
No. This verse is framed as direct address in a dialogue and does not mention a specific deity, tīrtha, or named figure.
Commend what is morally right in speech, but remain mindful of unstable impulses (cāpala) and curiosity (kautuka) that can lead to inconsistency.