Shloka 24
The Account and Merit of Śivadūtī
with the Nāga-tīrtha at Puṣkara
आजग्मुः परमप्रीताः स्तुत्वा चैव स्वयंभुवम् । प्रयातासु प्रजास्वेवं तानाहूय भुजंगमान्
ājagmuḥ paramaprītāḥ stutvā caiva svayaṃbhuvam | prayātāsu prajāsvevaṃ tānāhūya bhujaṃgamān
Ils revinrent dans une joie suprême, après avoir loué Svayambhū (Brahmā). Quand les créatures furent ainsi parties, il fit alors appeler les nāgas, les serpents.
Narrator (context indicates Svayambhū/Brahmā as the acting figure)
Concept: Cosmic governance proceeds through praise (stuti), orderly departure, and accountable summons—creation is not random but administered.
Application: Complete duties with gratitude, then remain available for accountability; transitions after success should be calm and orderly.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A luminous hall of Brahmā where newly formed creatures, radiant and grateful, bow in praise and depart in orderly streams. After the last beings vanish into the cosmic corridors, Brahmā turns, raising a lotus-staff, and summons the nāgas from shadowed coils at the edge of the mandala-like floor.","primary_figures":["Brahmā (Svayambhū)","departing prajāḥ (created beings)","nāgas (serpents)"],"setting":"Brahmā’s celestial court with lotus pillars, mandala floor, and distant vistas of forming worlds.","lighting_mood":"divine radiance","color_palette":["lotus pink","saffron gold","pearl white","emerald green","deep indigo"],"tanjore_prompt":"Tanjore painting style: Brahmā seated on a grand lotus throne inside a jeweled pavilion, gold leaf halos and ornate archways; departing created beings in reverent poses; at the lower border, nāgas with gemmed hoods emerging as Brahmā gestures a summons, rich reds/greens, heavy gold embellishment, temple-icon symmetry.","pahari_prompt":"Pahari miniature style: airy celestial terrace with delicate lotus columns, soft pastel sky; Brahmā calm and four-faced, subtle expressions; tiny figures of prajāḥ walking away along a winding path; nāgas hinted in cool shadow near a lotus pond, refined linework and lyrical spacing.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Brahmā with stylized large eyes and lotus seat; prajāḥ in rhythmic procession; nāgas coiled at the margin with patterned hoods; flat temple-wall composition using red, yellow, green, and ochre pigments.","pichwai_prompt":"Pichwai cloth painting style: ornate lotus borders and floral vines framing a cosmic lotus-court; Brahmā central with radiating aureole; prajāḥ as small devotional figures; nāgas arranged in decorative symmetry like hooded motifs, deep blues and gold detailing, intricate border work."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","distant conch","gentle drone","subtle wind","silence after departure"]}
Sandhi Resolution Notes: चैव = च + एव; प्रजास्वेवम् = प्रजासु + एवम्; तानाहूय = तान् + आहूय; आजग्मुः (लिट्) = आ + जग्मुः.
FAQs
‘Svayambhū’ means “the Self-born” and, in the Padma Purāṇa’s Sṛṣṭikhaṇḍa context, refers to Brahmā, the creator figure who is being praised and then acts by summoning the nāgas.
Within creation and cosmic-order narratives, nāgas often appear as a distinct class of beings to be instructed, assigned roles, or integrated into the emerging world-order; this verse marks the transition from the general departure of creatures to a specific engagement with the serpent beings.
It implicitly links praise (stuti) of the divine creator with ensuing right action: after receiving reverence, the creator proceeds to orderly governance—calling specific beings at the appropriate time—modeling purposeful, timely responsibility.