Shloka 12
The Account of Sunīthā
within the Vena Narrative
निर्दोषं ताडयेत्पश्चान्मोहात्पापेन केनचित् । स पापी पापमाप्नोति निर्दोषस्य शरीरजम्
nirdoṣaṃ tāḍayetpaścānmohātpāpena kenacit | sa pāpī pāpamāpnoti nirdoṣasya śarīrajam
Если кто-то в заблуждении согрешит, ударив невиновного, то этот грешник обретает тот самый грех, что возникает от повреждения тела невиновного.
Unspecified (context-dependent within Bhūmi-khaṇḍa Adhyaya 33 dialogue)
Concept: Harming the innocent rebounds as bodily-origin sin; delusion does not excuse violence—pāpa accrues to the doer.
Application: Before acting, ask: ‘Is this person truly at fault?’; avoid scapegoating; choose non-harmful conflict resolution; if harm occurred, seek prāyaścitta and make amends.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A symbolic balance scale floats above a human scene: on one side, the innocent’s wounded body; on the other, the aggressor’s shadowed form weighed down by dark beads labeled ‘pāpa’. Above, a faint Viṣṇu emblem (śaṅkha-cakra) suggests cosmic order witnessing every act.","primary_figures":["an innocent person","a sinner/aggressor","symbolic scales of karma","subtle Viṣṇu emblems (conch, discus)"],"setting":"allegorical space blending a courtroom-like hall with a shrine alcove—earthly justice under divine law","lighting_mood":"divine radiance","color_palette":["pearl white","midnight blue","antique gold","blood red","emerald green"],"tanjore_prompt":"Tanjore painting style: allegorical karmic judgment—ornate golden scales centered, innocent figure on one side, aggressor burdened by dark pāpa-beads on the other; gold leaf for scales and Viṣṇu symbols, rich crimson and emerald textiles, gem-like detailing, temple-arch frame.","pahari_prompt":"Pahari miniature style: poetic allegory with a floating scale under a pale moon; delicate faces, restrained emotion, cool blues and whites, subtle Viṣṇu iconography in the sky, refined brushwork emphasizing moral symbolism.","kerala_mural_prompt":"Kerala mural style: frontal allegorical panel—large stylized scales, bold outlines, flat pigments; Viṣṇu’s śaṅkha-cakra motifs above; strong red/yellow/green contrasts to show pāpa vs purity.","pichwai_prompt":"Pichwai cloth painting style: central karmic scale surrounded by lotus and tulasī-leaf patterns; deep blue ground with gold highlights; border of floral vines and peacocks; subtle shrine architecture motifs, devotional symbolism integrated into moral lesson."}
Audio Atmosphere: {"recitation_mood":"didactic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (soft)","temple bell","low drone","measured hand cymbals"]}
Sandhi Resolution Notes: ताडयेत्पश्चात् → ताडयेत् पश्चात्; पश्चान्मोहात् → पश्चात् मोहात्; मोहात्पापेन → मोहात् पापेन; पापमाप्नोति → पापम् आप्नोति
FAQs
It teaches that harming an innocent person is a grave adharma and the perpetrator directly incurs sin produced by that bodily injury.
It frames violence against the blameless as a karmically effective act: the doer “attains” (incurs) the resulting pāpa, emphasizing moral causality.
No. It states the principle generally—anyone who strikes a nirdoṣa (blameless person) commits sin and bears its karmic consequence.