Shloka 38
Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy
रैवतस्य सुता राज्ञी रेवतं सुषुवे सुतं । प्रभा प्रभातं सुषुवे त्वाष्ट्रं संज्ञा तथा मनुं
raivatasya sutā rājñī revataṃ suṣuve sutaṃ | prabhā prabhātaṃ suṣuve tvāṣṭraṃ saṃjñā tathā manuṃ
الملكة، ابنة رايفاتا، ولدت ابنًا اسمه ريفاتا. وبرابها ولدت برابهاتا؛ وسَمْجْنَا كذلك ولدت مانو، ابن تفاشتر.
Unspecified narrator (Purāṇic narration in Sṛṣṭikhaṇḍa genealogical context)
Concept: Different śaktis/consorts yield different cosmic functions—governance (Manu), awakening (Prabhāta), and continuity (Revata).
Application: Recognize differentiated responsibilities in family/community; nurture roles that sustain order, learning, and ethical conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A triptych-like scene of three mothers in a celestial household: the Raivata-born queen cradles infant Revata; Prabhā holds Prabhāta amid a soft dawn glow; Saṃjñā presents Manu, marked with a calm, lawgiving aura. Behind them, Vivasvān’s solar presence suffuses the chamber with warm light.","primary_figures":["Vivasvān (Sūrya)","Raivata’s daughter (queen)","Prabhā","Saṃjñā","Revata","Prabhāta","Manu (Tvāṣṭra)"],"setting":"Celestial palace interior with lotus-carved pillars, silk canopies, and a balcony opening to a sunrise sky","lighting_mood":"golden dawn","color_palette":["honey gold","lotus pink","ivory","turquoise","cinnabar"],"tanjore_prompt":"Tanjore painting style: three maternal figures seated on ornate thrones holding infants, Sūrya’s gold leaf halo radiating across the panel, rich crimson and emerald textiles, heavy jewelry with gem-studded highlights, lotus pillar motifs, symmetrical border with gold embossing.","pahari_prompt":"Pahari miniature style: gentle domestic celestial scene, delicate brushwork, soft dawn gradient, patterned shawls, refined faces, infants rendered with tender realism, balcony with distant hills/clouds, cool-tinted shadows balancing warm sunrise.","kerala_mural_prompt":"Kerala mural style: bold outlines and flat yet vibrant pigments, three mothers with characteristic large eyes, infants in stylized posture, Sūrya’s aura as concentric flame patterns, temple-wall composition with ornamental creeper borders.","pichwai_prompt":"Pichwai cloth painting style: central maternal tableau framed by lotus vines and floral borders, deep blue background with gold dawn accents, peacocks perched on border corners, intricate textile patterns, devotional symmetry emphasizing auspicious birth."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"serene","sound_elements":["soft tanpura drone","anklet chime (subtle)","temple bells (distant)","morning breeze"]}
Sandhi Resolution Notes: रैवतस्य सुता → रैवतस्य सुता; (no sandhi) ; रेवतं सुषुवे सुतं (no sandhi); प्रभा प्रभातं (no sandhi); त्वाष्ट्रं संज्ञा (no sandhi); मनुं (acc. sg.)
FAQs
It lists births within a genealogical sequence, naming mothers and their sons (Revata, Prabhāta, and Manu) as part of the Sṛṣṭikhaṇḍa’s creation-era lineages.
Manu is presented as the son of Saṁjñā and described as tvāṣṭra—connected with Tvaṣṭṛ—marking him as a progenitor figure within the Purāṇic lineage framework.
Not directly; its primary function is documentary—preserving sacred genealogy—though such lineages support later dharma narratives by situating rulers and progenitors within a cosmic history.