Shloka 35
The Glory of Dhātrī (Āmalakī) and Tulasī: Ekādaśī Observance and Protection from Preta States
न शक्नुवंति चांडालं मृतं द्रष्टुं महाबलाः । अन्योन्यं विग्रहस्तेषां ममायमिति भाषताम्
na śaknuvaṃti cāṃḍālaṃ mṛtaṃ draṣṭuṃ mahābalāḥ | anyonyaṃ vigrahasteṣāṃ mamāyamiti bhāṣatām
เหล่าผู้มีกำลังยิ่งใหญ่เหล่านั้นกลับไม่อาจมองศพจัณฑาลได้ จึงเกิดการวิวาทกันเอง ต่างกล่าวว่า “ผู้นี้เป็นของเรา”
Narrator (contextual speaker not specified in the provided excerpt)
Concept: The soul’s destination is not arbitrary: unseen merit can create competing claims; dharma operates with precision, and grace can manifest as a ‘higher jurisdiction’ over Yama’s agents.
Application: Do not judge outcomes by appearances; cultivate steady devotion and sacred associations—small merits accumulate and can protect in crises beyond human control.
Primary Rasa: adbhuta
Secondary Rasa: hasya
Type: celestial_realm
Visual Art Cues: {"scene_description":"A ring of formidable, shadowy attendants surrounds the corpse, yet they recoil as if blinded—unable to truly behold it. They argue fiercely, pointing and grasping at the air, each insisting ‘mine,’ while an unseen sacred force seems to shield the dead man with an invisible boundary.","primary_figures":["Yama’s attendants (pretas, bhūtas, rākṣasas)","Dead Caṇḍāla/Pulkaśa body","Unseen protective sacred force (implied Viṣṇu merit)"],"setting":"A mist-laden forest clearing that feels like a courtroom without walls—circling figures, tense gestures, and a faint, luminous perimeter around the body.","lighting_mood":"divine radiance","color_palette":["smoky violet","iron gray","pale gold","deep green","bone white"],"tanjore_prompt":"Tanjore painting style: a circular composition of fierce attendants in ornate yet dark attire, gesturing in dispute around a central body; a subtle gold-leaf halo-like boundary encircles the corpse indicating unseen protection; rich reds/greens with dramatic contrasts and traditional decorative borders.","pahari_prompt":"Pahari miniature style: animated quarrel rendered with refined expressions and hand gestures; the corpse at center with a faint wash of pale gold suggesting sanctity; cool grays and violets for the attendants, delicate forest backdrop, narrative wit mixed with metaphysical tension.","kerala_mural_prompt":"Kerala mural style: bold outlined figures in a ring, each pointing and arguing; central body protected by a stylized luminous band; strong reds, yellows, and greens with black contours, temple-wall storytelling energy.","pichwai_prompt":"Pichwai cloth painting style: ornate border with floral and lotus motifs; central scene of disputing attendants stylized, with a gold circular mandala-like aura around the body hinting at higher protection; deep indigo and violet ground with intricate detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["murmuring voices","sudden sharp exclamations","wind swirl","faint bell-like shimmer","tense silence"]}
Sandhi Resolution Notes: vigraha 25 + te 6301m 3e vigrahaste 6301m; mama + ayam + iti 3e mam01yamiti.
FAQs
It highlights how possessiveness (“He is mine”) can trigger mutual conflict, even in a situation involving death, revealing the disruptive power of ego and attachment.
The mention underscores a moment of social and ritual tension: the powerful men cannot bear to look at the corpse, and the situation becomes further destabilized by their competing claims of ownership.
It warns against clinging and proprietorship over persons (“mine-ness”), showing that such attachment breeds quarrel and loss of discernment, especially in morally sensitive contexts.