Shloka 108
Mārkaṇḍeya’s Birth and Boon; Puṣkara’s Glory; Rāma’s Śrāddha; Refuge-Hymn to Śiva
व्यक्तं त्रिविष्टपं प्राप्तस्त्वया पुत्रेण तारितः । दृष्ट्वा मां दुःखितां बालां वने क्लिष्टामनागसम्
vyaktaṃ triviṣṭapaṃ prāptastvayā putreṇa tāritaḥ | dṛṣṭvā māṃ duḥkhitāṃ bālāṃ vane kliṣṭāmanāgasam
Wahrlich, ich habe den offenbaren Himmel, Triviṣṭapa, erreicht und bin durch dich, meinen Sohn, gerettet worden. Und doch sahst du mich, ein junges, bekümmertes Mädchen, im Wald gequält, obwohl ohne Schuld.
Uncertain from single-verse context (appears to be a mother addressing her son)
Concept: Even the innocent may suffer in the world; true deliverance is measured not only by heavenly attainment but by compassionate recognition and protection of the blameless.
Application: Do not dismiss another’s pain as deserved; actively protect the vulnerable and the faultless, especially when they are isolated or socially unseen.
Primary Rasa: karuna
Secondary Rasa: adbhuta
Type: forest
Visual Art Cues: {"scene_description":"A sorrowful young mother, dust-streaked and weary, stands amid a dense forest clearing, her eyes lifted in a mixture of gratitude and reproach. In the distance, a luminous suggestion of Triviṣṭapa—faint celestial lotuses and a pale golden aura—contrasts with thorny undergrowth and fallen leaves, emphasizing the paradox of salvation alongside abandonment.","primary_figures":["a grieving mother figure","a son (rescuer)","subtle celestial presences (gandharvas/apsarās as distant silhouettes)"],"setting":"forest clearing with tangled vines, a small hermitage-like edge, and a far-off hint of heaven in the sky","lighting_mood":"forest dappled","color_palette":["deep forest green","earth brown","ash gray","pale gold","lotus pink"],"tanjore_prompt":"Tanjore painting style: a forest scene framed like a shrine panel, the mother figure in the foreground with expressive eyes and ornate jewelry dulled by hardship; the son slightly elevated, haloed; distant Triviṣṭapa rendered as a gold-leaf celestial band with embossed lotus motifs, rich reds and greens, gem-studded ornaments, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: delicate brushwork showing a quiet forest glade, slender trees and fine leaves; the mother’s sorrow conveyed through refined facial features and downcast eyes; a soft Himalayan-like horizon with a faint celestial glow, cool greens and muted gold, lyrical naturalism and intimate emotion.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; the mother in warm ochres and reds, the son in green-blue tones; stylized forest patterns; a simplified golden Triviṣṭapa aura above, temple-wall aesthetic with large expressive eyes and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: a devotional forest tableau with lotus borders; celestial lotuses and peacocks in the margins; the mother’s lament centered, with a distant golden heaven band; intricate floral vines, deep blues and gold accents, Nathdwara-inspired decorative framing."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["rustling leaves","distant birds","soft temple bell","long pauses","wind through trees"]}
Sandhi Resolution Notes: प्राप्तस्त्वया = प्राप्तः + त्वया; क्लिष्टामनागसम् = क्लिष्टाम् + अनागसम्; (अनागसम् agrees with बाला/माम—intended feminine accusative; transmitted form shows sandhi/orthographic variation).
FAQs
Triviṣṭapa is a classical Sanskrit name for Svarga—heaven or the realm of the gods—here used to indicate a lofty, divine attainment.
The speaker acknowledges being “saved” by her son, yet highlights the moral pain that she—innocent and vulnerable—was seen suffering in the forest, implying a delayed or incomplete protection.
Anāgasam (“without fault”) emphasizes the speaker’s innocence, framing her suffering as undeserved and intensifying the appeal to duty, compassion, and righteous protection.