Shloka 32
The Glory of the Divine Name and the Doctrine of Name-Offenses
Nāma-aparādha
ये शृण्वंति पुराणानि कोटिजन्मार्जितं खलु । पापजालं तु ते हत्वा गच्छंति हरिमंदिरम्
ye śṛṇvaṃti purāṇāni koṭijanmārjitaṃ khalu | pāpajālaṃ tu te hatvā gacchaṃti harimaṃdiram
Những ai lắng nghe các Purāṇa, quả thật diệt trừ lưới tội lỗi tích tụ qua hàng triệu kiếp sinh, rồi đi đến thánh cư của Hari.
Unspecified narrator (contextual voice within Brahma-khaṇḍa; exact dialogue pair not identifiable from the single verse alone)
Concept: Śravaṇa (devout listening) to Purāṇas destroys accumulated pāpa and leads to Hari’s realm.
Application: Keep a daily practice of listening/reading Purāṇic kathā with attention and reverence; treat it as inner cleansing rather than mere information.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A serene assembly of listeners sits in a lamp-lit mandapa as a learned brāhmaṇa recites Purāṇic kathā from a palm-leaf manuscript. From the sound-waves of sacred narration, a dark net of sins dissolves into lotus-petals, and a radiant gateway to Hari’s celestial abode opens in the distance.","primary_figures":["Vishnu (as distant radiant presence)","Purāṇa-vācaka brāhmaṇa","devotee listeners","attendant sages"],"setting":"Temple mandapa with carved pillars, tulasi courtyard hinted at the edge, and a distant vision of Vaikuṇṭha-like archway beyond the hall.","lighting_mood":"temple lamp-lit with divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: a South Indian temple mandapa where a Purāṇa-vācaka sits on a raised āsana reading palm-leaf folios; devotees with folded hands; behind them a luminous Vaikuṇṭha gateway with Viṣṇu’s silhouette in sapphire blue; heavy gold leaf halos, rich reds/greens, gem-studded ornaments, ornate arch (prabhāmaṇḍala) and lotus motifs; the ‘pāpa-jāla’ shown as a dark net unraveling into golden lotuses.","pahari_prompt":"Pahari miniature style: intimate satsanga scene with delicate faces and soft textiles; the reciter under a canopy, listeners seated on patterned rugs; a misty celestial opening in the sky revealing Hari’s abode; cool palette with gentle blues and greens, fine linework, lyrical naturalism, subtle floral borders.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; central brāhmaṇa reciter with expressive eyes, devotees in añjali; stylized Vaikuṇṭha aura behind with Viṣṇu’s conch and discus motifs; dominant reds/yellows/greens with a deep blue divine field, temple-wall aesthetic and decorative creepers.","pichwai_prompt":"Pichwai cloth painting style: a devotional assembly framed by intricate floral borders and lotus clusters; deep indigo background with gold highlights; a distant Hari-dhāma pavilion above, peacocks and cows at the margins; ornate patterns, rhythmic repetition of lotuses symbolizing purified sins, Nathdwara-inspired detailing."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft tanpura drone","conch shell (distant)","murmured responses of ‘hari’","silence between verses"]}
Sandhi Resolution Notes: कोटिजन्मार्जितम् → कोटि-जन्य-आर्जितम् (समास/सन्धि-विग्रह); हरिमंदिरम् → हरि-मन्दिरम्; शृण्वंति/गच्छंति are orthographic variants of शृण्वन्ति/गच्छन्ति.
FAQs
The verse praises śravaṇa (listening) to the Purāṇas as a spiritually transformative practice.
It links devotional engagement with sacred narratives (Purāṇa-śravaṇa) to purification from sin and reaching Hari’s abode, a distinctly Vaiṣṇava bhakti-fruit.
Regular attentive listening to dharmic teachings is presented as a remedy for long-standing moral and karmic impurities, encouraging sustained spiritual discipline and reverence for sacred instruction.