Shloka 46
The Supremacy of Food-Charity and the Rāma–Śambūka Episode
Child Revived through Rājadharma
त्रेतायुगे पुनः प्राप्ते ब्रह्मक्षत्रमनुत्तमम् । अधर्मो द्वापरे तेषां वैश्यान्शूद्रांस्तथाविशत्
tretāyuge punaḥ prāpte brahmakṣatramanuttamam | adharmo dvāpare teṣāṃ vaiśyānśūdrāṃstathāviśat
Cuando volvió el Tretā Yuga, los brāhmaṇas y los kṣatriyas fueron de nuevo excelentes; pero en el Dvāpara Yuga la adharma penetró asimismo entre sus vaiśyas y śūdras.
Not specified in the provided excerpt (context needed from surrounding verses of Sṛṣṭikhaṇḍa 35).
Concept: Yugas modulate collective virtue: excellence returns in Tretā among Brahmins and Kshatriyas, while Dvāpara sees adharma spreading further into other varnas.
Application: Recognize moral drift in communities and counter it through personal discipline, truthful speech, and service; do not outsource dharma to ‘others’—each group and person must guard it.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A triptych-like composition: on one side, Tretā Yuga appears as a bright, orderly court where Brahmins chant and Kshatriyas protect with calm strength; on the other, Dvāpara’s hues darken as shadowy figures of adharma seep into marketplaces and workshops. Above, a subtle celestial clock marks the turning of ages.","primary_figures":["symbolic Brahmins (ritualists)","symbolic Kshatriyas (protectors)","symbolic Vaishyas and Shudras","personified Adharma (shadow form)"],"setting":"Mythic city-court transitioning into a bustling bazaar and artisan quarter, rendered as a moral landscape.","lighting_mood":"golden dawn shifting to smoky twilight","color_palette":["sunlit gold","ivory","indigo","rust red","ash gray"],"tanjore_prompt":"Tanjore painting style: split-panel yuga scene with ornate gold leaf borders; Tretā panel shows Brahmin priests and Kshatriya king under a jeweled arch, Dvāpara panel shows creeping dark motifs of adharma in the lower registers; rich reds/greens, embossed gold halos and decorative floral filigree.","pahari_prompt":"Pahari miniature style: gentle narrative sequencing across the page—bright palace courtyard to muted bazaar; delicate faces, fine textiles, distant hills; adharma suggested through cooler shadows and subtle distortions rather than grotesque forms.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic color blocks—bright yellow-red for Tretā order, darker greens and browns for Dvāpara intrusion; stylized figures with expressive eyes; temple-wall composition with clear iconographic separation.","pichwai_prompt":"Pichwai cloth painting style: circular mandala of four yugas with Tretā and Dvāpara emphasized; lotus borders, peacocks at corners; adharma shown as dark vine-like tendrils; deep blues and gold with intricate floral patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura","soft mridangam pulse","distant conch (transition marker)","market ambience fading into silence"]}
Sandhi Resolution Notes: वैश्यान्शूद्रांस्तथाविशत्→वैश्यान्+शूद्रान्+तथा+अविशat; ब्रह्मक्षत्रम्→ब्रह्मन्+क्षत्र (द्वन्द्व).
FAQs
It presents a yuga-based moral decline narrative: excellence in dharma is restored in Tretā, while in Dvāpara adharma spreads further into society.
No. This verse focuses on yuga-dharma and social-moral conditions rather than sacred places.
Dharma is portrayed as variable across ages; the implied lesson is to consciously uphold righteousness even when adharma becomes widespread.