Shloka 36
Invocations, Definition and Authority of Purāṇa, Pulastya–Bhīṣma Frame, and the Creation–Dissolution Schema
नानात्व दर्शनात्सुस्थस्ततस्तदभिवर्त्तते । ततस्तापत्रयातीतो विरूपाख्यो निरंजनः
nānātva darśanātsusthastatastadabhivarttate | tatastāpatrayātīto virūpākhyo niraṃjanaḥ
عند إدراك التنوّع يغدو ثابتًا مطمئنًّا؛ ثم يرتدّ عن ذلك (عن الميل إلى الخارج). وبعدئذٍ، وقد تجاوز الآلام الثلاثة، يصير منزّهًا بلا دنس، ويُدعى فيروبا (Virūpa).
Unspecified narrator/teacher voice (context not provided for a definite dialogue attribution)
Concept: Seeing diversity without agitation, the seeker becomes steady, withdraws from outward flow, transcends the threefold afflictions, and becomes stainless (niranjana).
Application: When confronted with life’s variety, practice non-reactivity; pause before impulsive action; cultivate pratyāhāra through breath and mantra; interpret stressors as tāpa-traya and respond with devotion and discipline.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A yogin stands amid a bustling panorama—animals, people, gods, and elements—yet his face remains tranquil. A subtle spiral of energy that once flowed outward reverses and returns to his heart-lotus; above him, three dark clouds labeled as the three afflictions dissolve into clear sky, leaving a stainless, luminous silhouette.","primary_figures":["yogin/seeker","allegorical threefold afflictions (three clouds or three demons)"],"setting":"cosmic landscape blending village life, forest, and celestial motifs; heart-lotus mandala at the center","lighting_mood":"forest dappled","color_palette":["leaf green","sky blue","smoky charcoal","lotus pink","soft gold"],"tanjore_prompt":"Tanjore painting style: central yogin with gold-leaf halo, surrounded by a circular frieze of diverse beings (nānātva) rendered in ornate detail; three dark cloud-demons above dissolving into gold; embossed gold patterns on the heart-lotus, rich reds/greens, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: panoramic scene with many small life-forms and gentle hills; the yogin calm at center, a delicate inward-turning spiral painted with fine lines; three grey clouds thinning into blue; cool palette, refined features, lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: bold outlines; central figure with stylized eyes and calm mudrā; surrounding ring of beings as narrative icons; three affliction-forms above being erased by a wash of yellow-gold; temple-wall aesthetic with red/yellow/green dominance.","pichwai_prompt":"Pichwai cloth painting style: circular mandala composition; central yogin on a lotus, outer ring filled with patterned motifs of creatures and elements; three cloud forms at top dissolving into floral arabesques; deep blues and gold with intricate borders and lotus vines."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["wind in trees","soft mridang pulse (very light)","temple bell at verse end","distant water","silence"]}
Sandhi Resolution Notes: दर्शनात्सुस्थः = दर्शनात् + सुस्थः; सुस्थस्ततः = सुस्थः + ततः; तदभिवर्त्तते = तत् + अभिवर्तते; ततस्तापत्रयातीतो = ततः + तापत्रयातीतः; विरूपाख्यो = विरूप + आख्यः
FAQs
It frames liberation as a shift from being pulled outward by perceived multiplicity (nānātva) to an inward withdrawal (abhivartate), culminating in purity (nirañjana) and freedom from suffering.
They are the classic triad of sufferings: internal/mental and bodily (ādhyātmika), caused by other beings and the world (ādhibhautika), and caused by divine/cosmic forces (ādhidaivika).
Virūpa is presented as an epithet attained by the practitioner after transcending the three afflictions; ‘nirañjana’ implies being unstained—free from impurity, attachment, and karmic taint.