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
اے بیٹے! زبان کے بغیر بھی وہ ویدوں اور شاستروں کے مطابق سب کچھ کہہ دیتا ہے؛ اور جلد کے بغیر بھی لمس کا احساس ہوتا ہے—یہ سب کے لیے ہی واقع ہوتا ہے۔
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.