Shloka 56
The Destruction of Dakṣa’s Sacrifice
तदयं जगतामीशः सर्वेषामुत्तमोत्तमः । स्थानान्येतानि सर्वेषां दत्तान्येतेन धीमता
tadayaṃ jagatāmīśaḥ sarveṣāmuttamottamaḥ | sthānānyetāni sarveṣāṃ dattānyetena dhīmatā
Er ist wahrlich der Herr der Welten, der Höchste unter allen. Durch jenen Weisen wurden allen diese Wohnstätten und Stellungen zugeteilt.
Unspecified narrator (context-dependent within Sṛṣṭi-khaṇḍa narration)
Concept: The Lord of the worlds, supreme among all, wisely assigns stations and abodes to beings—cosmic hierarchy is purposeful, not random.
Application: Accept one’s current station as a divinely governed field for dharma; strive upward through merit and devotion rather than envy.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A vast cosmic court where the Supreme Lord presides above concentric worlds, each realm depicted as a luminous ring with its own beings and guardians. From the Lord’s hand emanate scroll-like rays assigning ‘sthānas’—some rising to celestial cities, others to earthly villages—showing wise distribution rather than favoritism.","primary_figures":["Vishnu/Nārāyaṇa (as Jagadīśa)","Brahmā (witness)","devas and lokapālas (symbolic)"],"setting":"Celestial mandala of lokas with layered skies and floating palaces","lighting_mood":"divine radiance","color_palette":["sapphire blue","radiant gold","pearl white","vermillion","smoky violet"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa enthroned on a jeweled seat with śaṅkha-cakra-gadā-padma, surrounded by concentric loka-rings rendered as ornate medallions; thick gold leaf radiance, ruby and emerald ornamentation, symmetrical lokapāla figures at cardinal points, temple-arch framing and embossed halos.","pahari_prompt":"Pahari miniature style: a refined cosmic diagram as a lyrical landscape—floating palaces, delicate clouds, and tiny figures in different realms; Viṣṇu above as a calm blue presence distributing luminous threads to each abode; cool blues and mauves, fine brushwork, gentle gradients and poetic spacing.","kerala_mural_prompt":"Kerala mural style: central blue Viṣṇu with bold outlines, surrounded by circular bands of worlds; lokapālas at directions, stylized palaces and cloud motifs; natural pigments with dominant reds/yellows/greens, rhythmic border patterns and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: a mandala-like composition with lotus borders and central Viṣṇu symbols; rings of worlds filled with miniature devotees, devas, and animals; intricate floral filigree, deep indigo ground, gold highlights, symmetrical sacred geometry reminiscent of Nathdwara ornamentation."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (soft)","temple bells","tanpura drone"]}
Sandhi Resolution Notes: tad + ayaṃ → tadayaṃ; jagatām + īśaḥ → jagatāmīśaḥ; sarveṣām + uttamottamaḥ → sarveṣāmuttamottamaḥ; sthānāni + etāni → sthānānyetāni; dattāni + etena → dattānyetena; dhīmatā instrumental agrees with etena (agent in passive sense).
FAQs
It presents a supreme Lord as the organizer of creation, who assigns appropriate stations or abodes to beings, implying an ordered cosmos governed by divine intelligence.
The verse uses a generic epithet without naming a deity here; in many Padma Purāṇa contexts this title aligns with the supreme divine ruler (often understood in a Vaiṣṇava frame as Viṣṇu/Nārāyaṇa), but the immediate identification depends on surrounding verses.
It encourages acceptance of rightful duties and circumstances as part of a larger divine order, while valuing wisdom and righteousness as the guiding principles behind proper distribution and harmony.