Shloka 37
The Glory of Tulasī and Dhātrī (Āmalakī): Protection from Yama and Attainment of Vaikuṇṭha
ताम्रमय्यास्त्रियासार्द्धं क्रीडां सुप्त्वा चकार सः । तप्तायां लोहशय्यायां वैक्लव्यं कर्मणा नृप
tāmramayyāstriyāsārddhaṃ krīḍāṃ suptvā cakāra saḥ | taptāyāṃ lohaśayyāyāṃ vaiklavyaṃ karmaṇā nṛpa
تانبے کی بنی ہوئی عورت کے ساتھ کھیل کر پھر وہ سو گیا۔ اپنے ہی کرم کے زور سے، اے بادشاہ، وہ تپتی ہوئی لوہے کی سیج پر بے بس پڑا رہا۔
Unspecified narrator (addressing the king: nṛpa)
Concept: Actions driven by exploitation and delusion return as mirrored suffering; one becomes ‘helpless’ under the momentum of one’s own deeds.
Application: Practice restraint and consent-based ethics; avoid objectifying others; recognize that indulgence can forge future bondage—choose habits that cool the ‘iron bed’ of consequences.
Primary Rasa: bhayanaka
Secondary Rasa: bibhatsa
Type: celestial_realm
Visual Art Cues: {"scene_description":"In a harsh chamber of punishment, an iron bed glows red-hot like a furnace plate. The king lies powerless, his face contorted in helpless realization, while the earlier delusive ‘sport’ is shown as a haunting mirage—now transmuted into scorching retribution.","primary_figures":["the king/soul","Yama’s messengers (optional)","a symbolic copper-woman figure (as mirage/illusion)"],"setting":"A naraka-like hall with iron walls, ember-lit floor, and heat haze; the copper figure appears as a reflective apparition, emphasizing delusion and consequence.","lighting_mood":"dramatic","color_palette":["molten orange","iron red","soot black","copper brown","acidic yellow"],"tanjore_prompt":"Tanjore painting style: intense infernal tableau—glowing iron bed with embossed gold used sparingly as cruel contrast; copper-toned mirage of the woman rendered with metallic sheen; the king’s helpless posture central; ornate border frames the moral lesson, with stylized flames and iron motifs.","pahari_prompt":"Pahari miniature style: psychological horror rather than gore—heat haze, red gradients, the king’s anguished expression; the copper-woman as a translucent reflective form; fine brushwork on smoke and embers, subdued yet piercing palette.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic flames; the iron bed as a stylized red slab, the king in contorted posture; copper apparition shown as a flat metallic color block; strong red-black-yellow-green contrasts, temple-wall didactic clarity.","pichwai_prompt":"Pichwai cloth painting style: allegorical composition—central iron bed surrounded by flame motifs and patterned borders; the copper apparition placed in an upper vignette like a cautionary emblem; intricate repetitive designs in reds and blacks, devotional-didactic textile narrative."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["roaring fire","metallic clang","heavy footsteps","breath-like wind through iron corridors"]}
Sandhi Resolution Notes: ताम्रमय्यास्त्रियासार्द्धम् = ताम्रमय्या + स्त्रिया + सार्द्धम्; लोहशय्यायाम् = लोह-शय्यायाम् (समास); श्लोकपादे ‘नृप’ सम्बोधन।
FAQs
It underscores karmic causality: indulgent or wrongful actions lead to corresponding suffering, depicted here as torment on a heated iron bed.
The copper-woman motif functions as a vivid, cautionary image—often used in Purāṇic moral narration—to illustrate deceptive or objectified sensuality and its karmic aftermath.
The suffering is not arbitrary; it is presented as the fruit of one’s own deeds, emphasizing personal responsibility and moral accountability.