Shloka 32
The Glory of the Divine Name and the Doctrine of Name-Offenses
Nāma-aparādha
ये शृण्वंति पुराणानि कोटिजन्मार्जितं खलु । पापजालं तु ते हत्वा गच्छंति हरिमंदिरम्
ye śṛṇvaṃti purāṇāni koṭijanmārjitaṃ khalu | pāpajālaṃ tu te hatvā gacchaṃti harimaṃdiram
जे पुराणांचे श्रवण करतात, ते कोट्यवधी जन्मांत साचलेले पापजाळ नष्ट करून हरिच्या धामास जातात।
Unspecified narrator (contextual voice within Brahma-khaṇḍa; exact dialogue pair not identifiable from the single verse alone)
Concept: Śravaṇa (devout listening) to Purāṇas destroys accumulated pāpa and leads to Hari’s realm.
Application: Keep a daily practice of listening/reading Purāṇic kathā with attention and reverence; treat it as inner cleansing rather than mere information.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A serene assembly of listeners sits in a lamp-lit mandapa as a learned brāhmaṇa recites Purāṇic kathā from a palm-leaf manuscript. From the sound-waves of sacred narration, a dark net of sins dissolves into lotus-petals, and a radiant gateway to Hari’s celestial abode opens in the distance.","primary_figures":["Vishnu (as distant radiant presence)","Purāṇa-vācaka brāhmaṇa","devotee listeners","attendant sages"],"setting":"Temple mandapa with carved pillars, tulasi courtyard hinted at the edge, and a distant vision of Vaikuṇṭha-like archway beyond the hall.","lighting_mood":"temple lamp-lit with divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: a South Indian temple mandapa where a Purāṇa-vācaka sits on a raised āsana reading palm-leaf folios; devotees with folded hands; behind them a luminous Vaikuṇṭha gateway with Viṣṇu’s silhouette in sapphire blue; heavy gold leaf halos, rich reds/greens, gem-studded ornaments, ornate arch (prabhāmaṇḍala) and lotus motifs; the ‘pāpa-jāla’ shown as a dark net unraveling into golden lotuses.","pahari_prompt":"Pahari miniature style: intimate satsanga scene with delicate faces and soft textiles; the reciter under a canopy, listeners seated on patterned rugs; a misty celestial opening in the sky revealing Hari’s abode; cool palette with gentle blues and greens, fine linework, lyrical naturalism, subtle floral borders.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; central brāhmaṇa reciter with expressive eyes, devotees in añjali; stylized Vaikuṇṭha aura behind with Viṣṇu’s conch and discus motifs; dominant reds/yellows/greens with a deep blue divine field, temple-wall aesthetic and decorative creepers.","pichwai_prompt":"Pichwai cloth painting style: a devotional assembly framed by intricate floral borders and lotus clusters; deep indigo background with gold highlights; a distant Hari-dhāma pavilion above, peacocks and cows at the margins; ornate patterns, rhythmic repetition of lotuses symbolizing purified sins, Nathdwara-inspired detailing."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft tanpura drone","conch shell (distant)","murmured responses of ‘hari’","silence between verses"]}
Sandhi Resolution Notes: कोटिजन्मार्जितम् → कोटि-जन्य-आर्जितम् (समास/सन्धि-विग्रह); हरिमंदिरम् → हरि-मन्दिरम्; शृण्वंति/गच्छंति are orthographic variants of शृण्वन्ति/गच्छन्ति.
FAQs
The verse praises śravaṇa (listening) to the Purāṇas as a spiritually transformative practice.
It links devotional engagement with sacred narratives (Purāṇa-śravaṇa) to purification from sin and reaching Hari’s abode, a distinctly Vaiṣṇava bhakti-fruit.
Regular attentive listening to dharmic teachings is presented as a remedy for long-standing moral and karmic impurities, encouraging sustained spiritual discipline and reverence for sacred instruction.