Shloka 19
Determination of Expiations: Purification after Forbidden Food, Impurity, and Transgression
इति श्रीपाद्मे महापुराणे ब्रह्मखंडे सूतशौनकसंवादे एकोनविंशोऽध्यायः
iti śrīpādme mahāpurāṇe brahmakhaṃḍe sūtaśaunakasaṃvāde ekonaviṃśo'dhyāyaḥ
ഇങ്ങനെ ശ്രീപദ്മ മഹാപുരാണത്തിലെ ബ്രഹ്മഖണ്ഡത്തിൽ സൂത-ശൗനക സംവാദത്തിലെ പത്തൊമ്പതാം അധ്യായം സമാപ്തമായി.
Narratorial colophon (Sūta–Śaunaka dialogue frame)
Concept: Śāstra is preserved through disciplined transmission (saṃvāda, adhyāya boundaries, colophons) and thus becomes a reliable vehicle for dharma and bhakti.
Application: Honor learning lineages: cite sources, keep vows/teachings intact, and treat spiritual knowledge as a trust to be transmitted without distortion.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: forest
Visual Art Cues: {"scene_description":"A quiet moment at the edge of Naimiṣāraṇya: Sūta sits on a low kusa-grass seat, palm-leaf manuscript beside him, while Śaunaka and the assembled ṛṣis lower their heads as a chapter concludes. The air is still, as if the forest itself pauses to seal the teaching into memory.","primary_figures":["Sūta","Śaunaka","assembled ṛṣis"],"setting":"Forest hermitage with yajña-śālā, kusa mats, palm-leaf manuscripts, sacrificial fire embers, deer moving at a distance","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","smoke gray","saffron ochre","leaf green","burnished gold"],"tanjore_prompt":"Tanjore painting style: Sūta seated in a forest yajña-śālā facing Śaunaka and sages, chapter-colophon moment of reverent closure; gold leaf embellishment on halos and manuscript edges, rich reds and greens in garments, gem-studded ornaments minimal and austere, traditional South Indian iconographic symmetry, delicate fire-altar details and ornate borders.","pahari_prompt":"Pahari miniature style: Naimiṣāraṇya forest clearing with lyrical trees and soft hills, Sūta and Śaunaka in refined profile, delicate brushwork on beards and deer, cool greens and muted saffron, a small sacred fire with thin smoke, intimate scholarly atmosphere.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm earth pigments, Sūta and Śaunaka with characteristic large eyes, stylized forest foliage and yajña-vedi, red/yellow/green palette, calm concluding gesture of folded hands, temple-wall aesthetic framing the colophon.","pichwai_prompt":"Pichwai cloth painting style: ornate floral borders and lotus motifs framing a forest satsanga; sages seated in semicircle around a small fire, deep blues and gold accents, peacocks at the edge, manuscript and conch motifs symbolizing transmission, Nathdwara-like decorative density though centered on rishi assembly rather than Krishna."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft temple bells","crackling embers","forest birds","gentle silence"]}
Sandhi Resolution Notes: एकोनविंशोऽध्यायः = एकोनविंशः + अध्यायः
FAQs
It is a colophon (chapter-ending marker) that identifies the text (Padma Mahāpurāṇa), the section (Brahma-khaṇḍa), the dialogue frame (Sūta–Śaunaka), and the chapter number (19).
They are the primary narrator (Sūta) and the principal listener/questioner (Śaunaka) in a common Purāṇic frame narrative used to present teachings and stories.
No—this line is structural rather than doctrinal; it serves to close and catalog the chapter within the Purāṇa’s organization.