Padma Purana — Bhumi Khanda, Shloka 117
The Deeds of Nahuṣa: Entry into Nāgāhvaya, Reunion with Parents, and Royal Consecration
इति श्रीपद्मपुराणे भूमिखंडे वेनोपाख्याने गुरुतीर्थमाहात्म्ये च्यवनचरित्रे नहुषाख्याने सप्तदशाधिकशततमोऽध्यायः
iti śrīpadmapurāṇe bhūmikhaṃḍe venopākhyāne gurutīrthamāhātmye cyavanacaritre nahuṣākhyāne saptadaśādhikaśatatamo'dhyāyaḥ
এইভাবে শ্রী পদ্মপুরাণের ভূমিখণ্ডে—বেনোপাখ্যান, গুরুতীর্থ-মাহাত্ম্য, চ্যবন-চরিত এবং নহুষ-আখ্যানের অন্তর্গত—একশো সতেরোতম অধ্যায় সমাপ্ত হল।
Narrator/Redactor (colophon line; not a dialogic speaker)
Concept: Scriptural structuring itself is a dharmic act: episodes, tīrtha-glorifications, and charitras are preserved as a chain of merit-bearing remembrance.
Application: Honor sources: keep track of teachings, contexts, and lineages; approach sacred texts with respect for their internal organization.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A scribe in a quiet temple library inks the final ‘iti’ on a palm-leaf manuscript, while behind him appear faint vignettes—Vena’s episode, a sacred tīrtha, Cyavana’s austerity, and Nahuṣa’s tale—like miniature panels within the same frame. The atmosphere is reverent, emphasizing preservation of dharma through careful transmission.","primary_figures":["scribe (lekhaka)","temple librarian-priest","symbolic vignettes of Vena, Cyavana, Nahuṣa","manuscript guardians (ṛṣis as visions)"],"setting":"Manuscript room with wooden shelves, oil lamps, ink pot, stylus, and wrapped bundles of palm leaves; a small Viṣṇu icon in the background niche.","lighting_mood":"temple lamp-lit","color_palette":["lamp amber","aged palm-leaf tan","ink black","maroon red","antique gold"],"tanjore_prompt":"Tanjore painting style: scribe finishing a palm-leaf manuscript before a small Viṣṇu shrine, gold leaf on manuscript borders and shrine arch, rich maroon and green textiles, ornate frame, miniature narrative panels hinted in the background with embossed highlights.","pahari_prompt":"Pahari miniature style: quiet manuscript chamber with delicate detailing of palm leaves and lamp flame, soft shadows, refined faces, subtle background vignettes like small paintings within the painting, cool browns and warm amber glow.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized lamp and shelves, scribe with expressive eyes, simplified yet iconic background panels of the named episodes, earthy reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: central manuscript and ‘iti’ motif framed by floral borders, small medallions depicting Vena/Cyavana/Nahuṣa/Guru-tīrtha, deep blue or maroon ground with gold highlights, devotional textile ornamentation."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":null,"pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["oil lamp crackle","soft bell at closure","page turning","silence"]}
Sandhi Resolution Notes: saptadaśādhikaśatatamo'dhyāyaḥ = saptadaśādhikaśatatamaḥ + adhyāyaḥ (visarga + a → 'o).
FAQs
It is a colophon: a closing line that identifies the Purāṇa section (Bhūmi-khaṇḍa), the narrative units covered (Vena, Guru-tīrtha-māhātmya, Cyavana, Nahuṣa), and marks the end of Chapter 117.
No. It is primarily editorial/structural, serving as a chapter-ending marker rather than conveying a new teaching or plot detail.
It provides precise internal metadata—text (Padma Purāṇa), book/khanda (Bhūmi-khaṇḍa), and chapter number (117)—useful for cataloging, cross-referencing, and SEO-friendly chapter-level queries.