Shloka 150
The Establishment of Vāmana at Kānyakubja and the Sanctification of Setu
महापातकयुक्ता ये तेषां पापं विलीयते । ब्रह्मवध्यादिपापानि यानि कष्टानि कानिचित्
mahāpātakayuktā ye teṣāṃ pāpaṃ vilīyate | brahmavadhyādipāpāni yāni kaṣṭāni kānicit
แม้ผู้ที่แบกมหาปาตกะ (บาปใหญ่) อยู่ บาปของเขาก็สลายไปได้; แม้บาปหนักอย่างพราหมณ์ฆาตและบาปร้ายแรงอื่นใดก็ตาม
Unspecified (narrative voice; dialogue context not provided in the input)
Concept: Even mahāpātakas can be dissolved through potent sacred contact (darśana/sevā/śaraṇāgati), underscoring the supremacy of divine grace over karmic accretion.
Application: Do not despair over past wrongdoing; adopt steady devotional practice—darśana, nāma-japa, and ethical repair—trusting that sincere turning toward Viṣṇu reforms the inner life.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A penitent figure, weighed down by shadowy forms symbolizing mahāpātakas, stands before a radiant Viṣṇu shrine. As the devotee offers folded hands, the shadows dissolve into lotus-petals and light, suggesting pāpa melting away under divine presence.","primary_figures":["Vishnu (as a radiant sanctum deity)","penitent devotee","attendant sages (optional)"],"setting":"Temple interior with a sanctum doorway; lotus-carved pillars; a small altar with lamps and conch; faint cosmic backdrop behind the deity.","lighting_mood":"temple lamp-lit with divine radiance spilling from the sanctum","color_palette":["gold leaf","deep indigo","lotus pink","emerald green","smoky violet"],"tanjore_prompt":"Tanjore painting style: Vishnu in a sanctum niche with pronounced gold-leaf halo and arch, gem-studded crown and ornaments, rich red-green drapery; a kneeling devotee in the foreground as dark smoky sin-forms dissolve into lotus petals; ornate pillars, oil lamps, and conch motifs, high-relief gold detailing.","pahari_prompt":"Pahari miniature style: a serene temple courtyard scene with Vishnu’s shrine glowing softly; delicate lines show a repentant devotee as faint grey sin-clouds lift away into pink lotus petals; cool yet luminous palette, refined faces, subtle floral borders, distant river haze implied.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Vishnu with large expressive eyes and elaborate crown; the devotee prostrating; stylized swirling dark forms (pāpa) transforming into bright lotus motifs; temple wall aesthetic with red/yellow/green dominance and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: Krishna-Vishnu as the central deity framed by lotus garlands and intricate floral borders; sin-clouds rendered as decorative dark motifs dissolving into lotuses; deep blue background, gold highlights, symmetrical lamp stands, peacocks at corners for auspiciousness."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["temple bells","low conch drone","soft tanpura","silence between phrases"]}
Sandhi Resolution Notes: महापातकयुक्ता → महापातकयुक्ताः; ब्रह्मवध्यादिपापानि = ब्रह्मवध्या-आदि-पापानि; कानिचित् → कानि चित्
FAQs
Yes. It explicitly states that even those associated with mahāpātakas—grievous transgressions—can have their sins dissolved, including offenses like brahma-vadhya and similar severe wrongs.
It emphasizes moral transformation and the possibility of purification: no one is beyond reform when the proper purificatory or redemptive means taught in the tradition are followed.
From the single-verse input alone, the speaker cannot be identified with confidence. In the Padma Purana, such statements often occur within teacher–disciple dialogues (e.g., Pulastya–Bhīṣma or Śiva–Pārvatī), but the surrounding verses are needed to assign it accurately.