Shloka 31
Sukalā’s Account: Ikṣvāku and Sudevā; the Boar’s Resolve and the Dharma of Battle
ममस्नेहं परित्यज्य हरिरेष समागतः । अस्य हस्तात्प्रयास्यामि तद्विष्णोः परमं पदम्
mamasnehaṃ parityajya harireṣa samāgataḥ | asya hastātprayāsyāmi tadviṣṇoḥ paramaṃ padam
Indem ich meine Anhaftung aufgebe, ist dieser Hari gekommen. Aus seiner Hand werde ich aufbrechen zu Viṣṇus höchstem Wohnsitz.
Unspecified (context required from surrounding verses in Bhūmi-khaṇḍa 42)
Concept: Renouncing attachment, one is taken by Hari to the supreme state; liberation is relational—departure ‘from His hand’—not merely self-achieved.
Application: Practice daily ‘hand-of-Hari’ remembrance: offer the day’s actions, release possessiveness, and cultivate trust through nāma-japa, simple worship, and ethical living; let detachment be affectionate, not bitter.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Hari appears close and compassionate, extending His hand to a repentant being who has just dropped the weight of attachment. As their hands meet, the earthly scene dissolves into a luminous corridor leading to Viṣṇu’s parama pada—lotus-filled, jewel-bright, and serene—where the soul rises like a spark returning to a sun.","primary_figures":["Hari (Viṣṇu)","Liberated devotee/jīva"],"setting":"Threshold between earth and Vaikuṇṭha: a fading mountain/forest foreground opening into a celestial lotus realm with jeweled arches","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","pearl white","emerald green"],"tanjore_prompt":"Tanjore painting style: Viṣṇu in traditional South Indian iconography, four-armed with śaṅkha-cakra-gadā-padma, extending one hand in grace to the devotee; Vaikuṇṭha backdrop with ornate pillars and lotus lake; heavy gold leaf on crown, halo, and arches; rich reds and greens, gem-studded ornaments, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: intimate moment of hand-clasp between Hari and the devotee; soft, lyrical Vaikuṇṭha garden with lotuses and gentle clouds; delicate brushwork, refined faces, cool blues with warm gold highlights; subtle mountain foreground fading into celestial space.","kerala_mural_prompt":"Kerala mural style: bold outlines and luminous natural pigments; Viṣṇu with large expressive eyes and elaborate crown; the devotee in añjali transitioning to hand-in-hand; Vaikuṇṭha rendered as patterned lotus fields and temple-like arches; dominant yellow, red, and green with deep blue for Viṣṇu.","pichwai_prompt":"Pichwai cloth painting style: Krishna/Vishnu-centered Vaikuṇṭha as a lotus mandala; central figure of Hari offering His hand; surrounding lotuses, peacocks, and intricate floral borders; deep indigo background with gold and pink lotuses, Nathdwara-inspired ornamentation emphasizing bhakti and grace."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["conch shell","temple bells","soft choir-like drone","gentle flowing water","expansive silence at cadence"]}
Sandhi Resolution Notes: ममस्नेहं = मम + स्नेहम्; हरिरेष = हरिः + एषः; हस्तात्प्रयास्यामि = हस्तात् + प्रयास्यामि; तद्विष्णोः = तत् + विष्णोः
FAQs
It denotes Viṣṇu’s highest state or supreme abode—liberation (mokṣa) conceived in Vaiṣṇava terms as reaching the Lord’s transcendent realm.
Hari personally “comes,” implying divine grace responding to devotion; the speaker’s readiness to depart with him highlights surrender and trust in the Lord as the means to liberation.
It teaches detachment from worldly affection (sneha) at the crucial moment and prioritizing the ultimate good—union with the divine—over binding attachments.