Shloka 17
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
भार्यामुवाच संत्रासात्स्नुषेयं ते शुचिस्मिते । एवमुक्त्वाब्रवीदेनं कस्य केयं स्नुषेति वै
bhāryāmuvāca saṃtrāsātsnuṣeyaṃ te śucismite | evamuktvābravīdenaṃ kasya keyaṃ snuṣeti vai
Vì kinh hãi, ông nói với vợ: “Hỡi người có nụ cười thanh khiết, nàng ấy là nàng dâu của nàng.” Nói vậy rồi ông lại hỏi: “Thật ra, nàng ấy là dâu của ai vậy?”
Unspecified male character (narrative dialogue within Adhyāya 13)
Concept: Fear breeds deception; speech under panic entangles one further.
Application: Before speaking in a crisis, pause; choose truth or at least non-harmful clarity—panic-driven improvisation usually multiplies consequences.
Primary Rasa: bhayanaka
Secondary Rasa: hasya
Visual Art Cues: {"scene_description":"Inside a modest royal dwelling, the king leans toward his wife with a startled, urgent expression, gesturing toward a veiled maiden standing nearby. The wife’s face is composed yet piercing, her ‘pure smile’ hinting at both grace and sharp discernment; the air feels tight with fear, as if one sentence could reshape their fate.","primary_figures":["Jyāmagha","Śaibyā","maiden (kanyā)"],"setting":"Interior of a simple palace chamber or camp pavilion with low lamps, textiles, and a threshold where the maiden stands","lighting_mood":"temple lamp-lit","color_palette":["lamp gold","deep maroon","smoke black","ivory","emerald green"],"tanjore_prompt":"Tanjore painting style: intimate chamber scene—Jyāmagha speaking in fear to Śaibyā, the veiled maiden at the side, gold leaf on lamp halos and jewelry, rich reds and greens, ornate textiles, expressive faces with traditional South Indian stylization, decorative arch border emphasizing the dramatic domestic moment.","pahari_prompt":"Pahari miniature style: refined interior with delicate patterns on carpets and curtains, subtle facial expressions—king anxious, queen calm with a knowing smile, veiled maiden poised, warm lamplight gradients, understated humor within tension, fine-line ornamentation and gentle shading.","kerala_mural_prompt":"Kerala mural style: bold outlines—three-figure composition with strong eye expressions, warm yellow lamp glow against dark interior, patterned garments in red/green, stylized jewelry, narrative clarity and dramatic gesture typical of mural storytelling.","pichwai_prompt":"Pichwai cloth painting style: domestic tableau framed by intricate floral borders and lotus motifs, deep indigo background with gold lamp highlights, stylized figures centered, ornamental textiles and peacock motifs used symbolically to heighten the mix of fear and ironic humor."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["single sharp bell strike","hushed murmurs","lamp crackle","sudden silence after the line","soft footstep of the maiden"]}
Sandhi Resolution Notes: bhāryām uvāca → bhāryāmuvāca; saṃtrāsāt snuṣā iyam → saṃtrāsātsnuṣeyaṃ; evam uktvā abravīt enam → evamuktvābravīdenaṃ; ke iyam → keyaṃ; snuṣā iti → snuṣeti.
FAQs
A man, frightened, tells his wife that the woman in question is her daughter-in-law, and then he asks another person to clarify whose daughter-in-law she actually is.
“Snuṣā” means “daughter-in-law.” The verse hinges on identifying a woman through her marital-family relationship, which drives the confusion or inquiry in the dialogue.
The verse highlights how fear and uncertainty can lead to unclear statements, prompting the need for direct questioning and clarification before forming judgments.