Shloka 36
नानात्व दर्शनात्सुस्थस्ततस्तदभिवर्त्तते । ततस्तापत्रयातीतो विरूपाख्यो निरंजनः
nānātva darśanātsusthastatastadabhivarttate | tatastāpatrayātīto virūpākhyo niraṃjanaḥ
Beim Erblicken der Vielheit wird er gefestigt und gesammelt; dann kehrt er davon zurück (von der nach außen drängenden Neigung). Daraufhin, die dreifachen Leiden überschreitend, wird er der Makellose, Virūpa genannt.
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.