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
Wahai raja segala raja, wahai yang tidak berdosa—tatkala hujung jari mengetuk ibu jarinya sendiri, maka dari situ, wahai raja, terpancut debu abu yang putih laksana salji.
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.