Shloka 82

Gajendra's Deliverance — Gajendra’s Deliverance and the Protective Power of Remembrance (Japa)

Devanagari script

एतत्पवित्रं परमं सुपुण्यं संकीर्तनीयं चरितं मुरारेः यस्मिन् किलोक्ते बहुपापबन्धनात् लभ्येत मोक्षो द्विरदेन यद्वत्

Transliteration

etatpavitraṃ paramaṃ supuṇyaṃ saṃkīrtanīyaṃ caritaṃ murāreḥ yasmin kilokte bahupāpabandhanāt labhyeta mokṣo dviradena yadvat

Translation

This is supremely purifying, exceedingly meritorious, and to be sung aloud—the sacred deed of Murāri. When it is indeed proclaimed, liberation is obtained from the many bonds of sin, just as (liberation was obtained) by the two-tusked one (the elephant, Gajendra).

Speakers

• Narrator to the listening sage/audience; the verse functions as a concluding commendation of the episode.

Primary Deities

• Vishnu

Key Themes

• Saṃkīrtana (devotional proclamation)
• Purification
• Mokṣa through bhakti
• Exemplary liberation (Gajendra as paradigm)

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "shanta", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

Why is the episode called “saṃkīrtanīya”?

“Saṃkīrtanīya” marks the narrative as suitable for communal or public recitation—an act believed to amplify merit and purificatory power, turning remembrance into an audible, shared devotional practice.

How does the comparison “yadvat dviradena” function?

It presents Gajendra as an archetype: as the elephant was freed through divine grace, so too the listener/reciter is freed from pāpa-bonds through contact with Murāri’s deed—linking mythic deliverance to present devotional efficacy.

Is “mokṣa” here literal final liberation or a graded release?

Purāṇic usage allows both. In a phalaśruti context, “mokṣa” can denote decisive release from binding sin and suffering (a liberation-in-effect), while also gesturing toward ultimate mokṣa as the culmination of sustained bhakti and purification.