Shloka 75
The Sin of Breaking Households: Citrā’s Past Karma and the Remedy of Hari’s Name and Meditation
हस्तपादविहीनं च सर्वत्र परिगच्छति । सर्वं गृह्णाति त्रैलोक्यं स्थावरं जंगमं सुत
hastapādavihīnaṃ ca sarvatra parigacchati | sarvaṃ gṛhṇāti trailokyaṃ sthāvaraṃ jaṃgamaṃ suta
แม้ปราศจากมือและเท้า ก็ยังแผ่ไปได้ทั่วทุกแห่ง; โอ้บุตรเอ๋ย พระองค์ทรงครอบคลุมไตรโลกทั้งสิ้น ทั้งสิ่งอยู่กับที่และสิ่งเคลื่อนไหว
Unspecified (context needed to identify the dialogue pair)
Concept: The supreme reality acts without limbs—moving everywhere and encompassing all—indicating transcendence of material organs while remaining immanent in all beings.
Application: See every encounter—people, animals, plants, and objects—as within the Lord’s field; practice non-harm and reverence, and reduce arrogance by remembering one is always 'held' within a greater reality.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A vast cosmic figure is suggested not by a body but by a field of luminous presence: no hands, no feet—yet waves of light travel through forests, mountains, oceans, and cities. The three worlds appear as layered panoramas, and a subtle chakra-mandala at the center 'holds' all moving beings and all still forms like jewels suspended in space.","primary_figures":["Vishnu as an all-pervading presence (aniconic light-field)","symbolic chakra-mandala","representatives of sthāvara (trees, mountains) and jaṅgama (animals, humans, birds)"],"setting":"cosmic panorama with three layered realms; earthly landscapes embedded within a mandala","lighting_mood":"divine radiance","color_palette":["cosmic black-blue","electric gold","opal white","forest green","ruby red"],"tanjore_prompt":"Tanjore painting style: aniconic central chakra-mandala in heavy gold leaf, with miniature vignettes of the three worlds around it; moving and unmoving beings rendered as jewel-like forms; ornate arch and floral borders, rich reds/greens, gilded rays implying motion without limbs.","pahari_prompt":"Pahari miniature style: sweeping triptych of the three worlds with delicate brushwork; a pale luminous center suggesting the Lord’s presence; animals, trees, and people painted with lyrical naturalism; cool blues and greens with a soft gold wash for the pervading light.","kerala_mural_prompt":"Kerala mural style: bold concentric circles for trailokya, central chakra motif; stylized mountains, trees, and creatures in rhythmic bands; thick ochre-gold radiance lines showing 'movement everywhere' without depicting limbs; temple-wall pigment texture.","pichwai_prompt":"Pichwai cloth painting style: central golden chakra-lotus mandala holding miniature cows, peacocks, trees, and devotees; deep blue background with dense floral borders; repeating lotus motifs and fine gold linework; the sense of omnipresence conveyed through symmetrical repetition across the cloth."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","deep temple bell","tanpura drone","wind-like whoosh (subtle)"]}
Sandhi Resolution Notes: हस्तपादविहीनं = हस्त-पाद-विहीनम्; त्रैलोक्यं = त्रि-लोक्यम् (द्विगु)
FAQs
The verse describes an all-pervading power that reaches everywhere and takes hold of all beings—both immovable (sthāvara) and moving (jaṅgama). In many Purāṇic contexts this imagery is used for Time (kāla) or Death (mṛtyu), though the exact referent depends on the surrounding verses.
“Sthāvara” refers to immovable entities (like mountains, trees, fixed beings), while “jaṅgama” refers to moving creatures. Together they indicate the totality of existence.
It underscores inevitability and universality: no being is beyond the reach of the all-pervading force being discussed. The implied lesson is to live with awareness of impermanence and to orient one’s life toward dharma and spiritual practice.