Shloka 71
The Account of Women
Householder Ethics, Fault, Merit, and Govinda-Nāma as Purification
प्रव्रज्यागतिमाप्नोति मरणादात्मघातिनी । नरोत्तम उवाच । सर्वासामपि जातीनां ब्राह्मणः शस्य इष्यते
pravrajyāgatimāpnoti maraṇādātmaghātinī | narottama uvāca | sarvāsāmapi jātīnāṃ brāhmaṇaḥ śasya iṣyate
جو اپنے آپ کو ہلاک کرے وہ (کہا جاتا ہے کہ) سنیاسی کی گتی پاتا ہے، مگر موت تو خود اپنی ہلاکت ہے۔ نروتم نے کہا: “تمام جاتوں میں برہمن ہی سب سے زیادہ قابلِ ستائش مانا جاتا ہے۔”
Narottama
Concept: Renunciant destiny is praised, yet self-killing is condemned as self-destructive; Narottama asserts the exemplary status of brāhmaṇas among varṇas.
Application: Distinguish genuine spiritual aspiration from harmful impulses; pursue disciplined renunciation through practice (simplicity, study, service) rather than self-harm; respect learning and ethical leadership.
Primary Rasa: shanta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"Narottama sits on a simple kusa mat beneath a banyan tree, one hand raised in instruction, the other resting on a palm-leaf manuscript. Behind him, a faint vision shows two paths: a calm forest path of pravrajyā with a staff and waterpot, and a dark, broken path symbolizing self-destruction—clearly rejected by his steady gaze.","primary_figures":["Narottama","students/disciples","symbolic renunciant figure (pravrajita)"],"setting":"Forest-edge āśrama with banyan, deer in the distance, a small hut, and a manuscript stand","lighting_mood":"forest dappled","color_palette":["earth brown","sage green","ochre","sky blue","charcoal gray"],"tanjore_prompt":"Tanjore painting style: Narottama as a haloed teacher under a stylized banyan; disciples seated in rows; gold leaf halo and borders; rich reds/greens; symbolic split-path vignette in the background; ornate but contemplative.","pahari_prompt":"Pahari miniature style: lyrical forest āśrama, delicate foliage; Narottama’s refined face and teaching gesture; cool greens and blues; subtle symbolic paths painted like a dream-cloud behind him.","kerala_mural_prompt":"Kerala mural style: bold outlines, Narottama with large eyes and clear mudrā; banyan leaves patterned; warm yellow-red palette with green; symbolic pravrajyā staff and kamaṇḍalu iconized.","pichwai_prompt":"Pichwai cloth painting style: teacher-centered composition with floral borders; banyan and lotus motifs; symmetrical disciple arrangement; deep blue ground with gold and ochre highlights; emphasis on dharma-teaching as auspicious."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","distant birds","soft mridangam pulse","tanpura drone","brief silence between lines"]}
Sandhi Resolution Notes: प्रव्रज्यागतिमाप्नोति = प्रव्रज्या + गतिम् + आप्नोति; मरणादात्मघातिनी = मरणात् + आत्मघातिनी; सर्वासामपि = सर्वासाम् + अपि
FAQs
No. This verse focuses on ethical and social-religious themes—renunciation (pravrajyā), the danger of death as self-harm, and the commendation of the brāhmaṇa among jātis.
Indirectly. While it is not explicitly a bhakti verse, it reflects a dharmic framework (right conduct, renunciation, and social ideals) within which bhakti practices are traditionally situated in Purāṇic literature.
It cautions that death (especially if self-caused) is self-destructive, while also asserting a normative Purāṇic valuation of the brāhmaṇa as exemplary—often associated with learning, restraint, and dharma.