Shloka 28
Yayāti’s Proclamation of Hari-Worship and the Ideal Vaiṣṇava Society
in the Mata–Pitri Tirtha Cycle
हरिं मुरारिं प्रवदंति केशवं प्रीत्या जितं माधवमेव चान्ये । श्रीनारसिंहं कमलेक्षणं तं गोविंदमेकं कमलापतिं च
hariṃ murāriṃ pravadaṃti keśavaṃ prītyā jitaṃ mādhavameva cānye | śrīnārasiṃhaṃ kamalekṣaṇaṃ taṃ goviṃdamekaṃ kamalāpatiṃ ca
บางพวกประกาศด้วยความรักว่า พระองค์คือหริ มุราริ และเกศวะ; อีกพวกกล่าวว่า พระองค์คือมาธวะ ผู้ถูกภักติพิชิตแล้ว. องค์เดียวกันนั้นคือศรีนรสิงห์ ผู้มีเนตรดุจดอกบัว—คือโควินทะผู้เดียว เป็นสวามีแห่งกมลา (พระลักษมี)
Unspecified (narrative voice not provided in the excerpt)
Concept: One Lord is praised through many names and forms; devotion ‘conquers’ Mādhava—God becomes accessible through love.
Application: Use different names according to need: Hari for removing sorrow, Murāri for inner victory, Govinda for guidance, Narasiṃha for courage; cultivate loving address rather than abstract prayer.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A celestial scroll of names unfurls in the sky—Hari, Murāri, Keśava, Mādhava, Śrī-Narasiṃha, Kamalekṣaṇa, Govinda, Kamalāpati—each name appearing as a vignette of the same radiant Lord. At the center, Viṣṇu stands with Lakṣmī, while Narasiṃha’s protective aura forms a luminous arc behind them, showing unity within multiplicity.","primary_figures":["Vishnu (Keśava/Govinda)","Lakshmi (Kamalā)","Narasimha","Devotees/chorus of sages"],"setting":"Celestial mandala-like space with lotus motifs; name-vignettes arranged like petals around the central divine couple.","lighting_mood":"divine radiance","color_palette":["deep indigo","gold leaf","lotus pink","emerald green","ivory white"],"tanjore_prompt":"Tanjore painting style: central Lakṣmī-Nārāyaṇa on a lotus throne with heavy gold-leaf work, surrounding petal-medallions each depicting an epithet—Murāri with discus, Keśava with peacock-feather-like crown accents, Narasiṃha roaring protectively—rich reds/greens, ornate jewelry and prabhāvali.","pahari_prompt":"Pahari miniature style: a circular lotus-mandala composition with delicate vignettes of the Lord’s names, soft gradients and refined faces, Narasiṃha rendered with controlled ferocity, cool mountain palette with lyrical clouds and floral borders.","kerala_mural_prompt":"Kerala mural style: bold outlines, iconic Lakṣmī-Nārāyaṇa with large eyes, Narasiṃha as a powerful side-panel, lotus-petal frames containing name-symbols, strong red-yellow-green palette and temple-wall symmetry.","pichwai_prompt":"Pichwai cloth painting style: Govinda centered amid lotus fields, gold-script-like name bands forming a halo, Lakṣmī as Kamalā beside Him, Narasiṃha motif at the top as protective emblem, intricate floral borders, deep blues with gold and pink lotuses."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","temple bells","choral response","hand cymbals","drone of tanpura"]}
Sandhi Resolution Notes: प्रवदंति→प्रवदन्ति; माधवमेव→माधवम् एव; चान्ये→च अन्ये; गोविंदमेकं→गोविन्दम् एकम्; (श्रीनारसिंहं treated as श्री-नारसिंहम्).
FAQs
It presents multiple epithets for the one Viṣṇu, highlighting that diverse devotional traditions address the same Supreme Lord through different celebrated names and forms.
It conveys a bhakti theology: the Lord is not forced, but willingly becomes accessible and responsive to loving devotion, as though “won over” by the devotee’s affection.
Narasiṃha is affirmed as a manifestation of that same single Divinity; the verse integrates avatāra theology by identifying Narasiṃha with Hari/Viṣṇu/Govinda.