Shloka 104
Pitṛ-tīrtha Context: Marks of Sin, Śrāddha Discipline, and Karmic Ripening
in Yayāti’s Narrative
अपहृत्य नरो याति नरके नात्र संशयः । बह्वल्पकाद्यपि तथा परस्य ममताकृतम्
apahṛtya naro yāti narake nātra saṃśayaḥ | bahvalpakādyapi tathā parasya mamatākṛtam
El hombre que roba va al infierno; de ello no hay duda. Así también, sea grande o pequeño lo tomado, si pertenece a otro y se lo reclama como “mío”.
Not explicitly identifiable from the single verse (context needed from surrounding verses of Bhūmi-khaṇḍa 67).
Concept: Stealing inevitably leads to hell; the moral weight does not depend on the object’s size but on the wrongful appropriation and the ‘mine-making’ (mamatā) of what belongs to another.
Application: Notice ‘mine-making’ in speech and mind—credit, attention, resources; practice gratitude and offering (īśvara-arpana) to weaken possessiveness.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Type: celestial_realm
Visual Art Cues: {"scene_description":"A courtroom of cosmic justice: the thief stands beneath an archway inscribed with ‘na atra saṁśayaḥ’ as if it were fate itself, while the stolen object—whether tiny or large—floats on a scale that does not measure weight but wrongdoing. The background fades into a red-black naraka horizon, making the verdict feel immediate and unavoidable.","primary_figures":["personified Dharma as judge","thief","yamadūtas (as bailiffs)"],"setting":"Mythic tribunal at the boundary of earth and naraka, with a symbolic scale and inscribed pillars","lighting_mood":"temple lamp-lit","color_palette":["lamp gold","vermilion","obsidian black","stone gray","pale ash"],"tanjore_prompt":"Tanjore painting style: ornate cosmic tribunal with gold leaf on the judgment arch and scale, Dharma seated with regal symmetry, yamadūtas flanking; rich vermilion and emerald accents, gem-like ornamentation, stylized flames in the distance, heavy gold embossing to convey inevitability.","pahari_prompt":"Pahari miniature style: refined court scene with delicate faces and restrained drama; the scale and the small/large stolen items painted with meticulous detail, soft gradients leading into a distant dark horizon, cool palette with sharp red accents for naraka.","kerala_mural_prompt":"Kerala mural style: bold outlined tribunal with rhythmic pillars and a central scale; strong reds and yellows, black background fields, stylized eyes and ornaments, didactic clarity—‘mine-making’ shown by the thief clutching at the air while the object rests on the scale.","pichwai_prompt":"Pichwai cloth painting style: symmetrical composition with a central scale framed by lotus and flame motifs; deep blue-black ground, gold detailing on borders, stylized attendants at corners, decorative script-like band suggesting the certainty formula."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["gong strike","temple bells (slow)","low drone (tanpura)","silence after the certainty phrase"]}
Sandhi Resolution Notes: नात्र = न + अत्र; बह्वल्पकाद्यपि = बहु-अल्पक-आदि + अपि (u+ a → vā/va sandhi giving बह्व-). ममता-कृतम् treated as compound with kta-participle.
FAQs
It teaches that theft is a grave adharma regardless of the object’s size, and that wrongly claiming another’s property as “mine” leads to severe karmic consequences.
No. It explicitly states that taking even a small item incurs the same moral fault when it is another’s property and is appropriated through possessiveness.
It highlights the inner attitude behind theft: the possessive appropriation of what belongs to someone else, which is presented as the decisive ethical violation.