Shloka 22
The Greatness of the Viṣṇu-pañcaka
Five-Day Kārttika Observance
इति क्रुद्धा द्विजश्रेष्ठ अपकीर्तिभयादपि । पापिनां प्रवरं सर्वे तत्यजुस्तं कुलादरम्
iti kruddhā dvijaśreṣṭha apakīrtibhayādapi | pāpināṃ pravaraṃ sarve tatyajustaṃ kulādaram
Assim, ó melhor dos brāhmaṇas, enfurecidos e também temendo a desonra, todos abandonaram aquele homem—o mais destacado entre os pecadores—que fora o ornamento de sua família.
Narrator (contextual voice addressing 'dvijaśreṣṭha')
Concept: Fear of apakīrti and commitment to dharma can drive social separation from persistent sin; association (saṅga) shapes destiny.
Application: Choose companions carefully; if correction fails, create boundaries to avoid being pulled into harmful patterns.
Primary Rasa: karuna
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"The family turns away as one, leaving the former ‘ornament of the clan’ standing alone at the edge of the settlement. Dust rises from their departing feet, and the abandoned man’s shadow lengthens—an image of honor slipping into disgrace.","primary_figures":["departing kinsmen","ostracized sinner","a narrator-sage presence implied by ‘dvijaśreṣṭha’ address"],"setting":"village outskirts with a boundary path, a fading view of homes and a distant shrine spire","lighting_mood":"golden dusk","color_palette":["burnt umber","ashen beige","fading saffron","steel blue","dull gold"],"tanjore_prompt":"Tanjore painting style: a poignant scene of collective abandonment—kinsmen in a procession moving away, the lone man centered with downcast gaze; gold leaf on distant shrine and border motifs; rich maroons and greens contrasted with the sinner’s muted garments; embossed highlights to symbolize lost ‘kula-ābharaṇa’.","pahari_prompt":"Pahari miniature style: delicate landscape with a village receding into the background, figures walking away in a gentle diagonal; subtle emotional realism, cool twilight tones, fine detailing of dust and footprints; the solitary figure framed by empty space.","kerala_mural_prompt":"Kerala mural style: stylized figures with emphatic gestures of turning away; warm earth pigments, strong outlines; a boundary line on the ground as a symbolic ‘social severance’; distant temple lamp as a small point of hope.","pichwai_prompt":"Pichwai cloth painting style: narrative vignette bordered by floral patterns; the departing group forms a rhythmic procession; lotus motifs appear subdued and closed, suggesting honor withdrawn; deep blue ground with gold accents, peacocks at corners looking away to mirror abandonment."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["footsteps on dust","wind through dry grass","distant conch from a shrine","heavy silence"]}
Sandhi Resolution Notes: क्रुद्धा → क्रुद्धाः (बहुवचन-प्रथमा); अपकीर्तिभयादपि → अपकीर्तिभयात् + अपि; तत्यजुस्तं → तत्यजुः + तम्; कुलादरम् = कुल + आदर (तत्पुरुष)
FAQs
It highlights social and moral accountability: when someone becomes a leading wrongdoer, even close associates may renounce him—both from righteous anger and from fear of sharing in his disgrace.
Apakīrti means ill-fame or disgrace; the verse suggests that reputational consequences (for oneself and one’s community) can motivate separation from sinful conduct and its agents.
The phrase 'dvijaśreṣṭha' is a respectful address to a brāhmaṇa (the best among the twice-born), indicating the verse is spoken in a narrative or dialogue frame to a learned interlocutor.