Padma Purana — Bhumi Khanda, Shloka 34
The Aśokasundarī–Nahuṣa Episode: Demon Stratagems, Protection by Merit, and Lineage Prophecy
पापिनश्चैव हुंडाद्या मोहनस्तंभनादिभिः । पीडयंति महापापा नानाभेदैर्बलाविलैः
pāpinaścaiva huṃḍādyā mohanastaṃbhanādibhiḥ | pīḍayaṃti mahāpāpā nānābhedairbalāvilaiḥ
Orang berdosa—seperti kaum Huṇḍa dan lain-lain—mereka yang sangat jahat itu menyeksa (orang lain) dengan perbuatan seperti pemesongan (mohan) dan pelumpuhan (stambhan) dan seumpamanya, menggunakan pelbagai cara yang keras lagi memperdaya.
Pulastya (to Bhīṣma)
Concept: Adharmic people employ coercion and deceptive powers (moha, stambhana) to torment others; such methods are morally condemned and ultimately self-defeating within karmic order.
Application: Do not be seduced by manipulative ‘quick power’ tactics; respond with ethical firmness, prayer, and community protection rather than retaliation mirroring the same deception.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Visual Art Cues: {"scene_description":"A band of sinister tormentors performs mohana and stambhana rites: one casts a net of dark mantra-smoke, another holds a talismanic yantra, while a victim appears momentarily frozen like a statue. Above them, the sky churns with ominous clouds, hinting that such tamasic power is unstable and doomed.","primary_figures":["Huṇḍas and other pāpinaḥ (tormentors)","a suffering victim","Pulastya (as narrator-sage, optional vignette)"],"setting":"A desolate crossroads outside a village boundary, with a broken shrine and scattered ritual implements (yantra plates, blackened lamps).","lighting_mood":"moonlit","color_palette":["indigo black","ashen white","blood red","dull bronze","sickly green"],"tanjore_prompt":"Tanjore painting style: dramatic tableau with gold-leaf used sparingly as ironic ‘false splendor’ on yantra plates; central tormentor with exaggerated fierce eyes, holding a copper yantra; another raises a staff as the victim stiffens; ornate but dark palette, heavy reds and greens, with a thin gold border framing the moral warning.","pahari_prompt":"Pahari miniature style: night scene with cool indigo wash; fine-line depiction of yantras and smoke-like mantras; the victim’s posture subtly rigid; distant hills and a pale moon; refined faces but with sharp, unsettling expressions for the tormentors.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized fierce faces for the tormentors; ritual objects clearly iconographic; background in flat color fields; strong red/yellow/green contrasts with a dominant dark blue night band.","pichwai_prompt":"Pichwai cloth painting style: atypical ‘warning’ pichwai—border of thorny vines and wilted lotuses; central dark ritual scene contrasted with a small corner vignette of a bright lotus/śaṅkha-cakra motif indicating dharma’s eventual victory; deep blues and muted gold."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["drum pulse (mridang-like, low)","wind gusts","crackling fire","sudden silence between lines"]}
Sandhi Resolution Notes: पापिनश्चैव = पापिनः + च + एव; हुंडाद्या = हुंड + आद्याः; मोहनस्तंभनादिभिः = मोहनस्तम्भनादिभिः; पीडयंति = पीडयन्ति (अनुस्वार/य-लोप लेखभेद); नानाभेदैर्बलाविलैः = नानाभेदैः + बलाविलैः
FAQs
They denote acts that confuse or delude others (mohana) and acts that render others helpless or immobilized (stambhana), i.e., coercive tactics that overpower a person’s agency.
“Huṇḍa/ Huṇa” is used in Purāṇic literature for groups seen as foreign or disruptive; here they stand as an example of sinful, oppressive actors among “others” (ādyāḥ).
It condemns oppression carried out through force and deceptive manipulation, presenting such conduct as a hallmark of “great sinners” and socially destructive adharma.