Shloka 66
Yoga-Sleep, Cosmic Dissolution, and the Lotus of Creation
with Mārkaṇḍeya’s Vision
एकार्णावजलीभूता सर्वसत्वविवर्जिता । महासत्वान्यपि विभुं प्रविष्टान्यमितौजसं
ekārṇāvajalībhūtā sarvasatvavivarjitā | mahāsatvānyapi vibhuṃ praviṣṭānyamitaujasaṃ
صار الكونُ محيطًا واحدًا لا حدَّ لمياهه، خاليًا من كلِّ كائنٍ حيّ؛ بل إنّ العظماء أيضًا دخلوا في الربّ الشامل لكلّ شيء، ذي القدرة التي لا تُقاس.
Narrator (contextual; specific dialogue speaker not identifiable from this single verse alone)
Concept: At dissolution, all beings—gross and subtle—return into the all-pervading Lord; individuality is contingent, the Divine is the abiding ground.
Application: Practice daily ‘returning’ of anxieties and ego-claims into the Lord through japa and surrender; remember impermanence to soften attachment and cultivate steadiness.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A boundless, dark-lapis ocean stretches to infinity, perfectly still, with no creatures or land—only the sense of immeasurable depth. In the center, the all-pervading Lord is suggested as a vast, subtle radiance beneath the waters, drawing even great beings into His luminous core as the cosmos dissolves.","primary_figures":["Nārāyaṇa (all-pervading Lord)","Mahāsattvas (great beings)"],"setting":"Infinite pralaya-ocean (Ekārṇava), horizonless and featureless, with faint cosmic mist.","lighting_mood":"divine radiance","color_palette":["midnight indigo","deep sapphire","silver mist","pearl white","subtle gold glow"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa implied as a central, serene, all-pervading presence above the Ekārṇava, with a faint aureole and stylized waves; gold leaf embellishment for the divine radiance, rich reds and greens in ornamental borders, gem-studded motifs framing the cosmic ocean, traditional South Indian iconographic cues (conch and discus suggested as luminous emblems).","pahari_prompt":"Pahari miniature style: a vast, calm indigo ocean with delicate ripples, minimalistic horizon, and a subtle luminous form of Nārāyaṇa absorbing tiny, haloed sages; cool palette, lyrical naturalism, refined faces, soft cloud bands, and gentle gradations of night-sky blues.","kerala_mural_prompt":"Kerala mural style: bold black outlines for stylized waves, Nārāyaṇa as a large, tranquil figure with characteristic eyes and ornate crown emerging from/within the waters; natural pigments with dominant blues, reds, yellows, and greens; temple-wall aesthetic emphasizing cosmic dissolution.","pichwai_prompt":"Pichwai cloth painting style: an abstracted Ekārṇava rendered as patterned blue textile waves with lotus and conch motifs; central Vishnu radiance with intricate floral borders, deep blues and gold, peacocks minimized or replaced by aquatic motifs to match pralaya mood, ornate Nathdwara-style framing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["low temple bell","conch shell (distant)","silence","soft drone (tanpura)","faint water resonance"]}
Sandhi Resolution Notes: एकार्णावजलीभूता = एक-अर्णव-जली-भूता (समास/सन्धि). सर्वसत्वविवर्जिता = सर्व-सत्त्व-विवर्जिता. महासत्वान्यपि = महा-सत्त्वानि अपि. प्रविष्टान्यमितौजसं = प्रविष्टानि अमित-ओजसम् (नि + अ → न्य).
FAQs
It describes pralaya-like dissolution: the world becomes a single cosmic ocean (ekārṇāva), with no visible creatures, and beings are said to merge into the all-pervading Lord.
“Vibhu” means the all-pervading, supreme Lord; in the Padma Purana’s typical theological framing, this often points to the supreme deity (commonly read in a Vaishnava sense as Viṣṇu), though the verse itself uses the epithet rather than a proper name.
The verse emphasizes impermanence of manifested creation and the ultimate dependence of all beings—even great beings—upon the supreme, immeasurable source into which they dissolve.