The Second Sin-Destroying Hymn (Pāpaśamana Stava) and Syncretic Praise of Hari-Hara
मत्स्यं नमस्ये देवेशं कूर्मं गोविन्दमेव च हयशीर्षं नमस्ते ऽहं भवं विष्णुं त्रिविक्रमम्
matsyaṃ namasye deveśaṃ kūrmaṃ govindameva ca hayaśīrṣaṃ namaste 'haṃ bhavaṃ viṣṇuṃ trivikramam
{"syncretic_content": true, "primary_deity": "mixed", "secondary_deities": ["Shiva", "Vishnu"], "hari_hara_unity": "Implied: the same 'me' is addressed by Śiva-names (Śambhu, Sthāṇu) and a Vaiṣṇava-name (Vanamālin) depending on kṣetra, suggesting functional Hari-Hara convergence in tīrtha practice.", "shakti_presence": null, "theological_tradition": "syncretic"}
{ "primaryRasa": "adbhuta", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
Such catalog-style salutations function as a ‘māṅgalika’ stuti: by recalling several manifestations, the text frames Vishnu as the single supreme reality who assumes diverse forms for cosmic protection, and it ritually sanctifies the narrative that follows.
‘Bhava’ is a standard epithet of Shiva; its placement alongside ‘Viṣṇu’ and ‘Trivikrama’ is typical of Purāṇic ecumenism, signaling theological harmony rather than strict sectarian separation. It can also be read as acknowledging Shiva’s presence within a Vishnu-centered hymn.
Trivikrama is the climactic, cosmic expansion of Vāmana in the Bali episode—Vishnu’s three strides establish divine sovereignty over the three worlds, making ‘Trivikrama’ a key name in the Purāṇa’s central narrative arc.