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Shloka 161

Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits

तत्सर्वं नाशमायाति नात्र कार्या विचारणा । यस्त्वेतानि च सर्वाणि गत्वा मां पश्यते नरः

tatsarvaṃ nāśamāyāti nātra kāryā vicāraṇā | yastvetāni ca sarvāṇi gatvā māṃ paśyate naraḥ

All dies geht zugrunde; darüber ist kein Erwägen nötig. Doch der Mensch, der all diese Stätten aufgesucht hat und Mich erblickt…

तत्that
तत्:
Karma (कर्म)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; संकेत (demonstrative)
सर्वम्all
सर्वम्:
Karta (कर्ता)
TypeAdjective
Rootसर्व (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; विशेषण
नाशम्destruction
नाशम्:
Gati/Karma (कर्म)
TypeNoun
Rootनाश (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया, एकवचन
आयातिgoes/comes (to)
आयाति:
Kriyā (क्रिया)
TypeVerb
Rootया (धातु) उपसर्ग: आ-
Formलट् (Present), प्रथमपुरुष, एकवचन; परस्मैपद
not
:
Sambandha (सम्बन्ध/particle)
TypeIndeclinable
Rootन (अव्यय)
Formनिषेधार्थक अव्यय (negation)
अत्रhere/in this matter
अत्र:
Adhikaraṇa (अधिकरण)
TypeIndeclinable
Rootअत्र (अव्यय)
Formदेशवाचक अव्यय (locative adverb)
कार्याto be done/necessary
कार्या:
Karta (कर्ता)
TypeAdjective
Rootकार्य (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; विधेय-विशेषण (predicative)
विचारणाconsideration/deliberation
विचारणा:
Karta (कर्ता)
TypeNoun
Rootविचारणा (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन
यःwho
यः:
Karta (कर्ता)
TypeNoun
Rootयद् (सर्वनाम-प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; सम्बन्धसूचक (relative pronoun)
तुbut/indeed
तु:
Sambandha (सम्बन्ध/particle)
TypeIndeclinable
Rootतु (अव्यय)
Formविरोध/विशेषार्थक अव्यय (but/indeed)
एतानिthese
एतानि:
Karma (कर्म)
TypeNoun
Rootएतद् (सर्वनाम-प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया, बहुवचन
and
:
Sambandha (सम्बन्ध/connector)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक अव्यय (conjunction)
सर्वाणिall
सर्वाणि:
Karma (कर्म)
TypeAdjective
Rootसर्व (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया, बहुवचन; विशेषण
गत्वाhaving gone
गत्वा:
Kriyāviśeṣaṇa (क्रियाविशेषण)
TypeVerb
Rootगम् (धातु)
Formक्त्वान्त अव्यय (gerund), ‘having gone’
माम्me
माम्:
Karma (कर्म)
TypeNoun
Rootअस्मद् (सर्वनाम-प्रातिपदिक)
Formद्वितीया, एकवचन (1st person pronoun)
पश्यतेsees
पश्यते:
Kriyā (क्रिया)
TypeVerb
Rootपश् (धातु)
Formलट् (Present), प्रथमपुरुष, एकवचन; आत्मनेपद
नरःman/person
नरः:
Karta (कर्ता)
TypeNoun
Rootनर (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन

Unspecified (context needed from surrounding verses to identify the dialogue pair)

Concept: Spiritual effort directed toward divine darśana is conclusive: all evil is destroyed; the ultimate purpose of visiting sacred places is to behold Bhagavān.

Application: When undertaking any religious practice (pilgrimage, ritual, study), set a clear end: increased remembrance and ethical transformation; avoid endless doubt—commit to one sincere path and complete it.

Primary Rasa: vira

Secondary Rasa: shanta

Type: tirtha

Visual Art Cues: {"scene_description":"A long pilgrimage road winds through miniature vignettes of many sacred shrines, each marked by a lotus emblem, converging toward a single radiant horizon where the Lord’s form becomes visible. The pilgrim’s posture shifts from weary travel to unwavering stride, as shadowy burdens fall away like broken chains—‘no need for deliberation’.","primary_figures":["pilgrim-devotee","Vishnu (revealed at the culmination)","attendant sages/guardians of tīrthas (optional)"],"setting":"A panoramic ‘map-journey’ landscape: forests, riverbanks, temple steps, and finally a luminous sanctum at the vanishing point.","lighting_mood":"golden dawn","color_palette":["earth ochre","leaf green","river silver","sunrise gold","deep indigo (distance)"],"tanjore_prompt":"Tanjore painting style: a grand procession scene with multiple small shrine panels along a path, all leading to a central Viṣṇu darśana panel; heavy gold leaf for the final sanctum and halos, embossed path motifs, rich reds/greens, ornate border with lotus and conch-disc symbols; the pilgrim shown repeatedly along the path like narrative sequencing.","pahari_prompt":"Pahari miniature style: continuous narrative landscape with delicate hills and trees; the pilgrim appears in successive positions moving toward a glowing shrine; subtle symbolism of dark burdens dropping away; cool blues and greens with warm gold at the destination, refined facial expressions showing growing resolve.","kerala_mural_prompt":"Kerala mural style: stylized winding path with repeated shrine icons; bold outlines and flat pigments; the final Viṣṇu aura dominates the upper register; the pilgrim in dynamic stride, with broken chain motifs near the feet; strong red-yellow-green palette with blue background.","pichwai_prompt":"Pichwai cloth painting style: circular pilgrimage mandala with 108 lotus medallions around the border and a central Viṣṇu darśana; the pilgrim depicted approaching the center; deep blue cloth field with gold lotuses, peacocks at corners, intricate floral borders emphasizing the inevitability of the culmination."}

Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["footsteps on stone","temple bells (increasing)","conch shell (near culmination)","wind through trees","crowd murmur fading into silence"]}

Sandhi Resolution Notes: तत्सर्वम् = तत् + सर्वम्; नाशमायाति = नाशम् + आयाति; नात्र = न + अत्र; यस्त्वेतानि = यः + तु + एतानि.

FAQs

It asserts the inevitability of destruction for all conditioned phenomena and points toward a higher goal: the transformative act of beholding the Supreme (“seeing Me”).

The phrase “mām paśyate” (“beholds Me”) frames liberation-oriented insight as personal encounter/vision of the Divine, a common Bhakti emphasis alongside philosophical reflection on impermanence.

This single verse does not name the speaker or listener. In the Padma Purana, speakers are often identified in the surrounding narrative (e.g., Pulastya–Bhīṣma or Śiva–Pārvatī), so the immediately adjacent verses are required for accurate attribution.