Shloka 160
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
इहामुत्र सुखायोक्तं सत्पतिप्राप्तिसंज्ञितम् । दुर्लभत्वात्सतः स्त्रीणां विगुणोपि पतिः किल
ihāmutra sukhāyoktaṃ satpatiprāptisaṃjñitam | durlabhatvātsataḥ strīṇāṃ viguṇopi patiḥ kila
此法为今世与来世之安乐而说，名为“得善夫”。以德行之女得此良夫甚难，故纵使夫君德相不足，亦被称为夫，理当承认。
Unspecified (narrative voice within Sṛṣṭikhaṇḍa context; exact speaker not provided in the excerpt)
Concept: Household well-being (iha–amutra sukha) is framed through pativratā-dharma and the social ideal of ‘satpati-prāpti’; scarcity of ideal conditions leads to counsel of acceptance within dharmic bounds.
Application: Seek virtue and compatibility, but cultivate patience, respectful speech, and dharmic problem-solving; do not romanticize perfection—strengthen the home through shared worship, truthful conduct, and counsel from elders/ācāryas.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"Inside a lamp-lit courtyard of a traditional gṛhastha home, a wise elder instructs a young bride about dharma and the realities of household life. In the background, a small Viṣṇu shrine with a tulasī-vṛndāvana suggests that domestic harmony is sustained by daily worship and restraint.","primary_figures":["gṛhastha-ācārya/elder","young bride (nava-vadhū)","Viṣṇu (as small shrine icon)","Tulasi plant (vṛndāvana)"],"setting":"domestic courtyard with rangoli, brass lamps, a small altar, and a tulasī pedestal","lighting_mood":"temple lamp-lit","color_palette":["warm saffron","deep maroon","antique gold","leaf green","ivory white"],"tanjore_prompt":"Tanjore painting style: a South Indian courtyard scene with a small Viṣṇu icon on a pedestal shrine and a tulasī-vṛndāvana; elder teaching a veiled bride, ornate jewelry, rich red and green textiles; heavy gold-leaf halos around the shrine, embossed gold borders, gem-like highlights on lamps and vessels.","pahari_prompt":"Pahari miniature style: intimate domestic instruction scene on a veranda; delicate facial features, soft textiles, cool shadows; tulasī in a small planter, distant garden trees; lyrical naturalism with fine linework and muted mountain-like blues in the background architecture.","kerala_mural_prompt":"Kerala mural style: bold black outlines, flat natural pigments; central tulasī-vṛndāvana and Viṣṇu shrine; elder and bride in stylized poses with characteristic large eyes; dominant reds, yellows, and greens, temple-wall aesthetic with floral borders.","pichwai_prompt":"Pichwai cloth painting style: devotional domestic tableau framed by lotus and creeper borders; small Viṣṇu shrine emphasized with gold detailing; tulasī leaves patterned throughout; peacocks perched on the courtyard wall, intricate textile motifs, deep indigo background accents."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","oil-lamp crackle","distant conch shell","night insects"]}
Sandhi Resolution Notes: इहामुत्र = इह + अमुत्र; सुखायोक्तम् = सुखाय + उक्तम्; सत्पतिप्राप्तिसंज्ञितम् = सत् + पति + प्राप्ति + संज्ञितम्; दुर्लभत्वात्सतः = दुर्लभत्वात् + सतः; विगुणोपि = विगुणः + अपि
FAQs
It frames ‘attaining a good husband’ as a source of well-being in both this life and the next, and notes that truly virtuous husbands are rare—so marriage is treated as a serious dharmic condition rather than a casual choice.
It emphasizes the rarity of an ideal spouse and the gravity of marital commitment in traditional dharma discourse; it is not a detailed legal/ethical ruling on abuse or harm, which is addressed elsewhere in dharma literature.
It highlights gratitude, realism, and steadiness in family duties—valuing commitment and responsibility over an expectation of perfection.