Shloka 12
The Account of Sunīthā
within the Vena Narrative
निर्दोषं ताडयेत्पश्चान्मोहात्पापेन केनचित् । स पापी पापमाप्नोति निर्दोषस्य शरीरजम्
nirdoṣaṃ tāḍayetpaścānmohātpāpena kenacit | sa pāpī pāpamāpnoti nirdoṣasya śarīrajam
Wenn jemand aus Verblendung sündigt, indem er einen Unschuldigen schlägt, so erlangt dieser Sünder eben jene Sünde, die aus der Verletzung des Körpers des Unschuldigen entsteht.
Unspecified (context-dependent within Bhūmi-khaṇḍa Adhyaya 33 dialogue)
Concept: Harming the innocent rebounds as bodily-origin sin; delusion does not excuse violence—pāpa accrues to the doer.
Application: Before acting, ask: ‘Is this person truly at fault?’; avoid scapegoating; choose non-harmful conflict resolution; if harm occurred, seek prāyaścitta and make amends.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A symbolic balance scale floats above a human scene: on one side, the innocent’s wounded body; on the other, the aggressor’s shadowed form weighed down by dark beads labeled ‘pāpa’. Above, a faint Viṣṇu emblem (śaṅkha-cakra) suggests cosmic order witnessing every act.","primary_figures":["an innocent person","a sinner/aggressor","symbolic scales of karma","subtle Viṣṇu emblems (conch, discus)"],"setting":"allegorical space blending a courtroom-like hall with a shrine alcove—earthly justice under divine law","lighting_mood":"divine radiance","color_palette":["pearl white","midnight blue","antique gold","blood red","emerald green"],"tanjore_prompt":"Tanjore painting style: allegorical karmic judgment—ornate golden scales centered, innocent figure on one side, aggressor burdened by dark pāpa-beads on the other; gold leaf for scales and Viṣṇu symbols, rich crimson and emerald textiles, gem-like detailing, temple-arch frame.","pahari_prompt":"Pahari miniature style: poetic allegory with a floating scale under a pale moon; delicate faces, restrained emotion, cool blues and whites, subtle Viṣṇu iconography in the sky, refined brushwork emphasizing moral symbolism.","kerala_mural_prompt":"Kerala mural style: frontal allegorical panel—large stylized scales, bold outlines, flat pigments; Viṣṇu’s śaṅkha-cakra motifs above; strong red/yellow/green contrasts to show pāpa vs purity.","pichwai_prompt":"Pichwai cloth painting style: central karmic scale surrounded by lotus and tulasī-leaf patterns; deep blue ground with gold highlights; border of floral vines and peacocks; subtle shrine architecture motifs, devotional symbolism integrated into moral lesson."}
Audio Atmosphere: {"recitation_mood":"didactic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (soft)","temple bell","low drone","measured hand cymbals"]}
Sandhi Resolution Notes: ताडयेत्पश्चात् → ताडयेत् पश्चात्; पश्चान्मोहात् → पश्चात् मोहात्; मोहात्पापेन → मोहात् पापेन; पापमाप्नोति → पापम् आप्नोति
FAQs
It teaches that harming an innocent person is a grave adharma and the perpetrator directly incurs sin produced by that bodily injury.
It frames violence against the blameless as a karmically effective act: the doer “attains” (incurs) the resulting pāpa, emphasizing moral causality.
No. It states the principle generally—anyone who strikes a nirdoṣa (blameless person) commits sin and bears its karmic consequence.