Padma Purana — Bhumi Khanda, Shloka 16
Narada Consoles King Āyu: Prophecy of the Son’s Return and Future Sovereignty
एवमुक्त्वा तु सा देवी विरराम सुदुःखिता । आगमिष्यंतमाज्ञाय नहुषं तनयं पुनः
evamuktvā tu sā devī virarāma suduḥkhitā | āgamiṣyaṃtamājñāya nahuṣaṃ tanayaṃ punaḥ
Après avoir parlé ainsi, la déesse, accablée de peine, se tut de nouveau, sachant que son fils Nāhuṣa allait revenir.
Narrator (third-person description of the devī)
Concept: Even the divine-hearted endure grief with restraint, trusting the unfolding of karma and dharma.
Application: When anticipating a difficult encounter, pause, speak what is necessary, then return to calm—avoid reactive speech that multiplies suffering.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sorrowful goddess sits in a quiet inner chamber, her gaze fixed toward a doorway where distant footsteps seem imminent. Her ornaments are subdued, her hands resting still, as if she has poured out her last words and now holds silence like a vow. The air is heavy with anticipation—grief tempered by dignity.","primary_figures":["Devī (unnamed goddess/mother figure)","Nāhuṣa (implied, approaching)"],"setting":"Palace interior or hermitage threshold—curtained doorway, lotus-carved pillars, a small lamp, and a faint view of a path outside.","lighting_mood":"temple lamp-lit","color_palette":["smoky indigo","lamp-gold","ash-white","deep maroon","lotus pink"],"tanjore_prompt":"Tanjore painting style: a dignified Devī seated near a carved doorway, eyes moist yet composed, gold leaf halo and border, rich maroon and emerald textiles, gem-studded jewelry rendered subtly, a single brass oil lamp casting warm highlights, faint silhouette of an approaching figure beyond the threshold, ornate South Indian architectural motifs.","pahari_prompt":"Pahari miniature style: an intimate palace chamber with delicate linework, the Devī seated in quiet sorrow, cool indigo shadows and soft lotus-pink accents, a distant path visible through an arched window, refined facial features with restrained emotion, minimal ornamentation emphasizing mood and silence.","kerala_mural_prompt":"Kerala mural style: the Devī with bold black outlines and expressive eyes, seated in a calm yet sorrowful posture, warm yellow and red background with green borders, stylized lamp flame, doorway framing the implied return of Nāhuṣa, temple-wall aesthetic with rhythmic floral patterns.","pichwai_prompt":"Pichwai cloth painting style: devotional interior scene framed by intricate floral borders and lotus motifs, deep blue ground with gold detailing, the Devī seated in stillness near a lamp, peacocks perched quietly on a balcony rail, the threshold suggesting imminent arrival, ornate textile-like patterning throughout."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["soft temple bells","oil-lamp crackle","distant footsteps","night insects","silence"]}
Sandhi Resolution Notes: एवमुक्त्वा = एवम् + उक्त्वा; आगमिष्यंतमाज्ञाय = आगमिष्यन्तम् + आज्ञाय
FAQs
The verse uses a generic narrative epithet—“that lady/goddess”—for the principal female figure in the surrounding episode; the specific identity is determined by the immediate chapter context.
It marks a pause in speech and a shift in scene: the woman stops speaking due to grief, anticipating the imminent arrival/return of Nahuṣa, her son.
The verse highlights maternal anxiety and sorrow, portraying how foreknowledge of an approaching encounter can intensify emotional burden and silence speech.