Shloka 15
Tīrtha-Māhātmya of the Sarasvatī Region and the Praise of Kurukṣetra
Pilgrimage Merits
अंगुल्यग्रेण राजेंद्र स्वांगुष्ठस्ताडितोऽनघ । तस्य भस्मक्षताद्राजन्निःसृतं हिमसंनिभम्
aṃgulyagreṇa rājeṃdra svāṃguṣṭhastāḍito'nagha | tasya bhasmakṣatādrājanniḥsṛtaṃ himasaṃnibham
ഹേ രാജേന്ദ്രാ, ഹേ അനഘാ! വിരലിന്റെ അഗ്രഭാഗം കൊണ്ട് സ്വന്തം അങ്കുഷ്ഠം അടിക്കപ്പെട്ടപ്പോൾ, ഹേ രാജൻ, ആ (മുറിവിൽ) നിന്ന് ഭസ്മധൂളിപോലെ, ഹിമംപോലെ വെളുത്ത സ്രാവം പുറപ്പെട്ടു.
Unspecified (narrative voice addressing a king, likely within the Pulastya–Bhīṣma dialogue framework of the Padma Purāṇa)
Concept: External sweetness or austerity can invert suddenly into ash-like emptiness; bodily signs dramatize the instability of worldly fascination and the hidden consequences of inner states.
Application: Do not chase spiritual ‘effects’ (visions, powers, sensations). Prioritize character, humility, and steady devotion; treat extraordinary experiences as transient.
Primary Rasa: adbhuta
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"A close, startling moment: a thumb is lightly struck, yet from the wound pours a pale, snow-like ash-dust, drifting in the air like winter. A kingly listener recoils in awe as the scene turns from curiosity to chilling portent.","primary_figures":["sage/ascetic with wounded thumb","king (rājendra) as listener","narrator/attendants (optional)"],"setting":"courtly pavilion opening onto a hermitage—silk canopies and carved pillars juxtaposed with simple ascetic implements; ash falling onto a dark stone floor for contrast","lighting_mood":"temple lamp-lit","color_palette":["snow white","charcoal black","smoke gray","deep maroon","antique gold"],"tanjore_prompt":"Tanjore painting style: dramatic close-up of the sage’s hand with ash-like stream rendered in textured white, gold leaf accents on royal ornaments; the king in jeweled crown leaning back in astonishment; rich reds and greens, ornate borders, gem-studded highlights, high-contrast floor catching the falling ‘snow’ of ash.","pahari_prompt":"Pahari miniature style: refined court-hermitage hybrid scene; delicate depiction of pale ash flowing like snow, the king’s startled expression subtle and elegant; cool grays and whites against warm ochres, fine architectural detailing and soft shading.","kerala_mural_prompt":"Kerala mural style: bold outlines emphasizing the hand gesture and the thick white ash stream; king with stylized wide eyes; red/yellow/green pigments with strong black ground to make the ash pop, decorative borders like temple murals.","pichwai_prompt":"Pichwai cloth painting style: narrative panel with ornate floral borders; central hand with stylized white ‘snow-ash’ cascade, king and attendants in añjali and astonishment; deep indigo background with gold filigree, lotus motifs framing the uncanny miracle."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Todi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["sudden hush","soft falling dust sound","single bell strike","wind-like whoosh"]}
Sandhi Resolution Notes: ताडितोऽनघ = ताडितः + अनघ; भस्मक्षताद्राजन् = भस्मक्षतात् + राजन् (त् + र → द्र्); राजेंद्र = राजेन्द्र (ए + इ → ए)।
FAQs
It describes a thumb being struck by a fingertip, after which an ash-like substance flows out, appearing white like snow.
Not explicitly; it functions primarily as a narrative detail, likely illustrating an extraordinary bodily sign or event within a larger story.
A king is being addressed—“best of kings” (rājendra) and “sinless” (anagha). The specific king is not named in this single verse without broader chapter context.