Shloka 24
The Vow of the Bed of Good Fortune (Saubhāgya-śayana) and the Saubhāgyāṣṭaka
त्रिपुरघ्नाय विश्वेशमनंतायै करद्वयम् । त्रिलोचनायेति हरं बाहू कालानलप्रिये
tripuraghnāya viśveśamanaṃtāyai karadvayam | trilocanāyeti haraṃ bāhū kālānalapriye
Dem Tripuraghna, dem Bezwinger Tripuras—o Viśveśa—wurden beide Hände der Anantā dargebracht. Mit den Worten: »Dem Dreiaugigen« umschlang sie Hara mit ihren Armen, o Geliebte des Feuers der Zeit.
Uncertain from single-verse context (likely a narrator describing a ritual/gesture toward Śiva).
Concept: Remembering the deity’s victorious forms (Tripuraghna, Trilocana) and responding with intimate devotion (embrace) unites awe and closeness—bhaya and prema transmuted into surrender.
Application: When facing inner ‘Tripuras’ (threefold afflictions), recall a protective divine archetype; combine strength with tenderness—firm resolve without losing compassion.
Primary Rasa: vira
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Śiva as Tripuraghna stands poised with a cosmic bow, the three aerial cities of Tripura dissolving into luminous ash in the distance. In the foreground, the devotee offers both hands to Anantā as a serene śakti, then—uttering ‘Trilocanāya’—wraps arms around Hara in a visionary embrace, while a subtle ‘kālānala’ fire-ring glows behind them like time itself.","primary_figures":["Tripuraghna (Śiva)","Viśveśa (Śiva as Lord of the universe)","Anantā (śakti)","Hara (Śiva)","devotee (visionary worshipper)"],"setting":"Mythic-celestial battlefield transitioning into a temple-vision space; distant burning Tripura cities in the sky; foreground altar with lamp and flowers.","lighting_mood":"dramatic","color_palette":["smoldering crimson","ash silver","sapphire night","molten gold","ember orange"],"tanjore_prompt":"Tanjore painting style: grand Tripuraghna with gold leaf halo, jeweled crown, and ornate bow; three stylized flying cities burning in the background with gold highlights; Anantā as a graceful goddess receiving the devotee’s offered hands; foreground embrace of Hara rendered with rich reds and greens, embossed gold Devanagari ‘Tripuraghnāya’, ‘Trilocanāya’; gem-studded ornaments and elaborate arch framing the scene.","pahari_prompt":"Pahari miniature style: elegant celestial landscape with delicate smoke trails from Tripura; Śiva as archer in refined posture; the embrace scene softened into a devotional vision with lyrical naturalism; cool indigo sky, warm ember accents, fine facial features and subtle emotion.","kerala_mural_prompt":"Kerala mural style: bold outlines; Tripuraghna iconic with bow and three burning forts as stylized motifs; Anantā and Hara in symmetrical composition; strong red-yellow-green palette with black contouring; time-fire ring as patterned aureole.","pichwai_prompt":"Pichwai cloth painting style: central medallion of Tripuraghna with bow; surrounding border of flames and lotus motifs; side panels showing the devotee offering hands to Anantā and embracing Hara; deep blue cloth ground with gold and vermilion detailing, intricate floral borders and decorative script cartouches."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (clear)","temple drums (soft but martial)","crackling fire (distant)","bell crescendo then hush"]}
Sandhi Resolution Notes: विश्वेशमनंतायै = विश्वेशम् + अनन्तायै.
FAQs
Tripuraghna is Śiva, famed for destroying the three demon cities (Tripura), a common epithet in Purāṇic hymnology.
The verse depicts reverential gestures—offering both hands and embracing Hara—framed as worshipful address through Śiva’s epithets.
Purāṇic verses often stack epithets to convey theology: Viśveśa (cosmic lordship), Trilocana (transcendent vision), and Hara (the remover/destroyer of evil).