Shloka 11
Means to Attain Vaikuṇṭha: The Glory of House-Donation and the Viṣṇudūtas–Yamadūtas Episode
नाम्ना सा चंचलापांगी ययौ देशांतरं कदा । सर्वपापसमायुक्ता नरके पातयंति च
nāmnā sā caṃcalāpāṃgī yayau deśāṃtaraṃ kadā | sarvapāpasamāyuktā narake pātayaṃti ca
នាងត្រូវបានគេស្គាល់ថា ចញ្ចលាបាង្គី; នៅពេលមួយនាងបានទៅប្រទេសផ្សេង។ ដោយពោរពេញដោយបាបទាំងឡាយ នាងក៏ធ្វើឲ្យអ្នកដទៃធ្លាក់ចូលនរកផងដែរ។
Unspecified in the provided excerpt (narratorial voice within the Adhyaya context).
Concept: Association with sin (sarva-pāpa-samāyuktā) and leading others toward naraka underscores karmic contagion: one’s conduct can become a cause of others’ downfall, intensifying ethical responsibility.
Application: Avoid enabling harm; be mindful of influence (speech, seduction, manipulation). Choose environments and companions that support dharma; seek atonement early through disciplined vows and devotional practice.
Primary Rasa: bhayanaka
Secondary Rasa: bibhatsa
Visual Art Cues: {"scene_description":"Caṃcalāpāṅgī travels under a darkening sky toward a foreign city gate, her ornaments gleaming while her shadow stretches unnaturally long. In the background, faint spectral forms tumble toward a fiery chasm—an allegory of ‘leading others to hell’—while a distant temple lamp flickers, hinting at a future path of redemption.","primary_figures":["Caṃcalāpāṅgī","spectral falling figures (allegorical)","gate guards (silhouettes)"],"setting":"road to a foreign city with looming gate, twilight dust, and a far-off shrine","lighting_mood":"moonlit","color_palette":["smoky violet","charcoal black","ember orange","pale silver","deep maroon"],"tanjore_prompt":"Tanjore painting style: dramatic moral tableau—woman at a city gate with ornate jewelry rendered in gold leaf; background shows stylized naraka flames and falling silhouettes as symbolic motifs; rich maroons and dark greens, embossed gold borders, devotional warning aesthetic.","pahari_prompt":"Pahari miniature style: twilight journey scene with delicate shading; the woman’s elegance contrasted with subtle, ghostly allegory of falling figures in the distance; cool purples and grays, refined expressions, narrative tension conveyed through composition.","kerala_mural_prompt":"Kerala mural style: bold outlines—woman moving toward a gate, naraka imagery as stylized flame patterns below; strong reds/yellows with dark blue-black ground, temple-story panel arrangement.","pichwai_prompt":"Pichwai cloth painting style: central figure framed by ornate floral borders; symbolic naraka flames and falling silhouettes integrated as decorative motifs; deep indigo and maroon with gold highlights, peacocks absent to keep the mood austere."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["low drum pulse","wind gusts","distant thunder","temple bell (faint)","ominous silence"]}
Sandhi Resolution Notes: देश+अन्तरम्→देशान्तरम्; सर्व+पाप+समा+युक्ता (समास/समुच्चय); पातयन्ति (पत् धातोः णिच्).
FAQs
In this excerpt she is a named woman characterized as morally dangerous—someone ‘associated with all sins’—but her fuller identity and story depend on the surrounding verses of Adhyaya 6.
It warns that a person steeped in wrongdoing can become a cause of others’ moral and spiritual ruin too—leading them toward “naraka” (a hellish consequence).
Yes, implicitly: sinful association and actions are linked with grave consequences (falling into naraka), highlighting moral causality central to Purāṇic ethics.