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
Orang yang mencuri akan pergi ke neraka—tiada keraguan tentang hal itu. Baik besar maupun kecil, mengambil milik orang lain lalu mengakuinya sebagai “milikku” tetaplah dosa yang sama.
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.