Shloka 22
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
यं श्रुत्वा न पुनर्मोहं प्रयास्यथ पुनर्भुवि । पुरासीच्च द्विजः कश्चिन्नरोत्तम इति स्मृतः
yaṃ śrutvā na punarmohaṃ prayāsyatha punarbhuvi | purāsīcca dvijaḥ kaścinnarottama iti smṛtaḥ
এই কথা শুনিলে তোমালোক এই জগতত পুনৰ মোহত নপৰিবা। বহু আগতে ‘নৰোত্তম’ নামে স্মৃত এক জন দ্বিজ-ব্ৰাহ্মণ আছিল।
Unspecified narrator (continuing the Adhyaya’s dialogue context)
Concept: Śravaṇa (hearing sacred narrative) dispels delusion and guides conduct; the story of Narottama is meant as a transformative mirror.
Application: Regularly hear/read dharma-kathā; reflect on it to correct blind spots (especially pride and neglected duties).
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A luminous scroll of palm leaves seems to unfurl in the air as the narrator announces the name ‘Narottama,’ while the listeners’ faces shift from curiosity to dawning understanding. The atmosphere suggests that mere hearing is a sacred act, like bathing in an unseen river of wisdom.","primary_figures":["narrator-sage","brāhmaṇa listeners","symbolic figure of Narottama (faint, as a foreshadowed silhouette)"],"setting":"āśrama hall or forest clearing with manuscripts, water pot, sacrificial fire embering softly","lighting_mood":"divine radiance emerging through calm shade","color_palette":["palm-leaf tan","soft gold","sage green","midnight blue","white ash"],"tanjore_prompt":"Tanjore painting style: narrator-sage seated with palm-leaf manuscript, announcing ‘Narottama’; listeners in reverent rows; a faint foreshadowed figure of Narottama in the background within a gold-leaf aura; ornate borders, rich crimson and green textiles, gold leaf on manuscript edges and halos, traditional iconographic symmetry.","pahari_prompt":"Pahari miniature style: refined storytelling moment—sage holding a manuscript, listeners leaning in; delicate depiction of a faint silhouette of Narottama near the horizon; cool blues and greens, soft golden wash around the manuscript as if wisdom-light; lyrical trees and distant hills.","kerala_mural_prompt":"Kerala mural style: bold outlines—sage with manuscript, listeners with large expressive eyes; stylized radiance around the spoken name; warm yellow and red background fields with green borders; temple-wall composition emphasizing didactic clarity.","pichwai_prompt":"Pichwai cloth painting style: kathā-śravaṇa panel framed by lotus vines—central manuscript glowing, listeners seated; deep blue ground with gold highlights; intricate floral borders suggesting ‘wisdom as tīrtha’; subtle peacocks perched above as auspicious witnesses."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["gentle tanpura drone","forest birds","soft crackle of a small fire","long pauses for reflection"]}
Sandhi Resolution Notes: punarmohaṃ = punaḥ + moham (visarga → r before m); punarbhuvi = punaḥ + bhuvi (visarga → r before bh); purāsīcca = purā + āsīt + ca (ā + ā → ā; final -t before ca often written with doubled c in sandhi).
FAQs
It asserts that hearing the forthcoming teaching/account prevents a return to moha (spiritual delusion) in worldly life.
Narottama is introduced as a ‘dvija’ (twice-born, typically a brāhmaṇa), presented as a remembered figure from the past, likely the subject of the next narrative passage.
The verse highlights śravaṇa (attentive hearing of sacred instruction) as a transformative practice that counters ignorance and भ्रम (delusion), preparing the listener for right understanding and conduct.