Shloka 35
Narration of the Greatness of Harivāsara
Ekādaśī, the Day Sacred to Hari
उत्तरा यतिभिः कार्या पूर्वामुपवसेद्गृही । एकादशीकला यत्र द्वादशीपरतो न चेत्
uttarā yatibhiḥ kāryā pūrvāmupavasedgṛhī | ekādaśīkalā yatra dvādaśīparato na cet
على المتنسّكين (اليَتِيّين) أن يراعوا الإكادشي المتأخرة (uttarā)، وأما ربّ الأسرة فليصم الإكادشي المتقدمة (pūrvā). وحيث إن جزء الإكادشي (التِّثي) لا يمتد إلى الدفادشي، فهذه هي القاعدة.
Unspecified narrator/instructor (contextual dharma-upadeśa within Brahma-khaṇḍa)
Concept: Vrata practice is calibrated to one’s āśrama: renunciants follow uttarā Ekādaśī; householders follow pūrvā, especially when Ekādaśī does not touch Dvādaśī.
Application: Match spiritual disciplines to your life-stage and responsibilities; consult reliable calendars/teachers before major observances.
Primary Rasa: shanta
Visual Art Cues: {"scene_description":"Two devotees stand before a pañcāṅga board: a saffron-clad yati points to the later Ekādaśī window, while a householder with family attire indicates the earlier one. Above them, a stylized moon-phase arc shows Ekādaśī’s ‘kala’ not extending into Dvādaśī, emphasizing precision in sacred time.","primary_figures":["a yati (renunciant)","a gṛhastha (householder)","ācārya/pañcāṅga-knower (optional)","Viṣṇu (subtle presence as emblem or icon)"],"setting":"Temple veranda or monastery courtyard with a hanging lunar calendar, palm-leaf manuscripts, and a small Viṣṇu shrine lamp.","lighting_mood":"golden dawn","color_palette":["saffron","chalk white","peacock blue","brass gold","leaf green"],"tanjore_prompt":"Tanjore painting style: a central Viṣṇu emblem above; below, a yati in saffron and a gṛhastha in white-dhoti stand beside a richly ornamented pañcāṅga panel marked ‘pūrvā’ and ‘uttarā’; gold-leaf highlights on calendar borders, temple lamps, and jewelry; saturated reds/greens, frontal devotional composition.","pahari_prompt":"Pahari miniature style: gentle courtyard scene with two figures in dialogue; delicate script on a small calendar; pale sky with a crescent-to-full moon arc; refined faces, soft shadows, cool palette, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: bold outlines; stylized pañcāṅga board with clear tithi symbols; yati and gṛhastha in iconic poses; warm red/yellow/green pigments, temple wall feel, symmetrical layout.","pichwai_prompt":"Pichwai cloth painting style: decorative border of lotus and tulasi-like foliage (ornamental, not textual); central calendar medallion with Ekādaśī/Dvādaśī; devotees at the bottom in devotional stance; deep indigo background with gold detailing and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["page-turning of almanac","temple bell punctuations","tanpura drone","distant morning birds"]}
Sandhi Resolution Notes: पूर्वामुपवसेद्गृही = पूर्वाम् + उपवसेत् + गृही; एकादशीकला = एकादशी + कला; द्वादशीपरतो = द्वादशीपरतः (visarga sandhi before n/na); न चेत् = न + चेत्
FAQs
It distinguishes observance: renunciants take the later Ekādaśī (uttarā), while householders fast on the earlier Ekādaśī (pūrvā), particularly when Ekādaśī does not extend into Dvādaśī.
It refers to the operative portion of the Ekādaśī tithi; the verse uses it to decide whether Ekādaśī overlaps into Dvādaśī, which affects which Ekādaśī is to be observed.
It emphasizes disciplined observance adapted to one’s āśrama (life-stage)—householder and renunciant—so that vow-keeping remains both accurate (tithi-based) and appropriate to one’s duties.