Shloka 5
The Slaying of Bala–Nāmuci
ततो रुद्रास्स साध्याश्च विश्वे च वसवस्तथा । स्कंदश्च गणपश्चैव विष्णुजिष्णुपुरोगमाः
tato rudrāssa sādhyāśca viśve ca vasavastathā | skaṃdaśca gaṇapaścaiva viṣṇujiṣṇupurogamāḥ
Dann traten die Rudras hervor, die Sādhyas, die Viśvedevas und die Vasus; ebenso Skanda und Gaṇapa—an der Spitze geführt von Viṣṇu, dem Allgegenwärtigen, und Jiṣṇu, dem Siegreichen.
Unspecified (narratorial voice within the Sṛṣṭi-khaṇḍa creation sequence; traditional dialogue context not explicit from the single verse).
Concept: When disorder rises, divine forces align under Viṣṇu’s supremacy; refuge in the Lord is the axis of protection.
Application: In crisis, gather your ‘inner devas’—disciplines, virtues, supportive allies—under a clear highest principle; for devotees, that principle is Nārāyaṇa.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A radiant celestial muster unfolds: Rudras with matted locks and tridents, Sādhyas and Viśvedevas in luminous armor, and the Vasus like living constellations. At the forefront stands Viṣṇu as Jiṣṇu—sapphire-bodied, crowned, calm yet invincible—while Skanda and Gaṇeśa flank the host like guardians of victory and auspicious beginnings.","primary_figures":["Viṣṇu (Jiṣṇu)","Rudras","Sādhyas","Viśvedevas","Vasus","Skanda (Kārttikeya)","Gaṇeśa"],"setting":"Celestial plain before a shining deva-city, with cloud-thrones, flying vimānas, and a horizon of light","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","gold leaf","pearl white","emerald green"],"tanjore_prompt":"Tanjore painting style: Viṣṇu as Jiṣṇu at center-front with conch, discus, mace, lotus; gold leaf halo and ornate arch, gem-studded crown and jewelry; behind him rows of Rudras, Sādhyas, Viśvedevas, Vasus in layered symmetry; Skanda with spear and peacock emblem, Gaṇeśa with modaka and blessing hand; rich reds/greens with heavy gold embellishment and embossed celestial motifs.","pahari_prompt":"Pahari miniature style: a luminous deva assembly in a wide airy landscape of clouds and distant palaces; Viṣṇu in serene blue leading, delicate facial refinement, soft pastel sky, subtle gold accents; Skanda and Gaṇeśa rendered with gentle grace; rhythmic grouping of deity-classes like a poetic procession.","kerala_mural_prompt":"Kerala mural style: central Viṣṇu with bold black outlines and large expressive eyes, radiant yellow-red aura; Rudras and deva-classes arranged in tiers, Skanda and Gaṇeśa prominent at sides; natural pigments (red/yellow/green) with temple-wall grandeur and patterned ornaments.","pichwai_prompt":"Pichwai cloth painting style: Viṣṇu-centered celestial court framed by intricate floral borders and lotus motifs; deep blue ground with gold highlights; symmetrical rows of deva-classes like a festival darśan tableau; peacocks near Skanda, auspicious motifs near Gaṇeśa, ornate textile-like detailing throughout."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["conch shell","temple bells","celestial drums","soft choir-like humming","wind chimes"]}
Sandhi Resolution Notes: रुद्रास्स → रुद्राः; साध्याश्च → साध्याः + च; स्कंदश्च → स्कंदः + च; गणपश्चैव → गणपः + च + एव; विष्णुजिष्णुपुरोगमाः treated as a tatpuruṣa compound: viṣṇu-jiṣṇu-purogamāḥ.
FAQs
They are classical Vedic-Purāṇic classes of gods: the Rudras (storm/transformative deities associated with Rudra-Śiva), the Sādhyas (a divine group often linked with ritual order), the Viśvedevas (“All-gods,” a collective of deities invoked together), and the Vasus (eight elemental/functional deities).
The verse is cataloging beings that “came forth” in a creation or emanation sequence; Skanda (Kārttikeya) and Gaṇapa (Gaṇeśa) are included as prominent divine figures within the wider Purāṇic divine hierarchy.
By placing Viṣṇu (and the epithet Jiṣṇu, “victorious”) in the lead, the passage frames the emergence and ordering of divine powers under a Vaishnava-centered supremacy or guiding principle, typical of many sections of the Padma Purāṇa.