Padma Purana — Bhumi Khanda, 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
کچھ لوگ محبت سے اُسے ہری، مُراری اور کیشوَ کہہ کر پکارتے ہیں؛ اور کچھ کہتے ہیں کہ وہی مادھو ہے، جو بھکتی سے جیت لیا گیا۔ وہی ایک پروردگار شری نرسِمھ ہے، کنول نین؛ وہی اکیلا گووند ہے، کملا (لکشمی) کا پتی۔
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.