Shloka 78
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
अजिह्वो वदते सर्वं वेदशास्त्रानुगं सुत । अत्वचः स्पर्शनं चापि सर्वेषामेव जायते
ajihvo vadate sarvaṃ vedaśāstrānugaṃ suta | atvacaḥ sparśanaṃ cāpi sarveṣāmeva jāyate
ឱកូនអើយ ទោះគ្មានអណ្តាត ក៏ព្រះអង្គអាចមានព្រះវាចាសព្វយ៉ាង ស្របតាមវេទ និងសាស្ត្រ; ហើយទោះគ្មានស្បែក ក៏នៅតែមានអារម្មណ៍ស្ប៉ះ—នេះកើតមានចំពោះសព្វគ្រប់។
Unspecified (context not provided; vocative 'suta' indicates a father/teacher addressing a son/disciple)
Concept: Functions like speech and touch can be understood as rooted in subtle principles; the Lord (and by extension consciousness) is not confined to gross anatomy.
Application: Let speech be ‘veda-śāstra-anugam’: truthful, beneficial, and disciplined; cultivate sensitivity (sparśa) as compassion—how one’s actions ‘touch’ others.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A teacher addresses his son-disciple beside a palm-leaf manuscript stand; from the manuscript rise luminous Sanskrit syllables that float into the air, suggesting speech beyond tongue. Nearby, a figure without visible skin is shown surrounded by a faint aura of sensation—ripples of light touching the body—symbolizing sparśa as a subtle experience.","primary_figures":["a guru/ācārya","a son-disciple (suta)","personified Vedic syllables (floating akṣaras)"],"setting":"Ashram study pavilion with palm-leaf manuscripts, ink pot, and a small Vishnu altar in the background.","lighting_mood":"temple lamp-lit","color_palette":["warm amber","manuscript tan","sandalwood brown","lapis blue","soft crimson"],"tanjore_prompt":"Tanjore painting style: guru teaching suta near a manuscript desk, floating golden Sanskrit akṣaras emerging like divine sound, small Vishnu altar with conch/discus motifs, gold leaf highlights on syllables and borders, rich maroon and emerald drapery, ornate jewelry minimal and traditional.","pahari_prompt":"Pahari miniature style: intimate study scene in a wooden pavilion, delicate akṣaras painted as tiny gold birds of sound, cool evening tones with warm lamp glow, refined facial expressions, distant hills and a thin river line, subtle symbolism for touch as light ripples.","kerala_mural_prompt":"Kerala mural style: bold outlined teacher and disciple, stylized palm-leaf manuscripts, large decorative Sanskrit syllables in a halo, strong red/yellow/green palette, temple-wall symmetry, minimal background with iconic props.","pichwai_prompt":"Pichwai cloth painting style: central manuscript-lotus from which akṣaras bloom like petals, border of floral vines and small conch motifs, deep blue ground with gold syllables, devotional undertone with a tiny Vishnu emblem at the top center."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["page rustle (palm leaves)","soft bell","tanpura drone","night crickets","brief silence after each pāda"]}
Sandhi Resolution Notes: वेदशास्त्रानुगं = वेद-शास्त्र-अनुगम्; चापि = च + अपि; सर्वेषामेव = सर्वेषाम् + एव
FAQs
The verse uses paradox to point beyond physical organs: speech can be understood as the functioning of consciousness, intention, or subtle faculties, not merely the tongue.
It suggests that sensation is not confined to gross bodily components alone; experience can be attributed to subtler levels of embodiment or to the mind’s capacity to register contact.
Do not judge capacity solely by outward form; inner faculties and alignment with dharma (here, Veda-śāstra conformity) can manifest even when external means seem absent.