Shloka 22
Yoga-Sleep, Cosmic Dissolution, and the Lotus of Creation
with Mārkaṇḍeya’s Vision
यजामहे तमेवाद्यं स एवोत्थाननिर्वृतः । यो वक्ता यच्च वक्तव्यं यश्चाहं तद्ब्रवीमि ते
yajāmahe tamevādyaṃ sa evotthānanirvṛtaḥ | yo vaktā yacca vaktavyaṃ yaścāhaṃ tadbravīmi te
Nous adorons ce même Primordial; Lui seul est la béatitude obtenue par l’éveil. Il est le locuteur, Il est ce qui doit être dit, et Il est aussi « moi »; c’est pourquoi je te le dis.
Unspecified (verse is in first-person plural/first-person voice within the narrative context of Sṛṣṭikhaṇḍa 39)
Concept: The Primordial Lord is both the object of worship and the very power of speech/teaching; awakening-bliss is found in Him, and the speaker’s ‘I’ is ultimately grounded in that Supreme.
Application: Before study, japa, or teaching, mentally offer speech to Nārāyaṇa; practice ‘hari-smaraṇa’ so words become seva; cultivate humility: ‘I speak only by His power’.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A visionary tableau where the Primordial Nārāyaṇa appears as a vast, serene presence behind the speaking sage—His form subtly blending into cosmic space filled with syllables and luminous script. The speaker’s mouth releases golden Sanskrit akṣaras that dissolve into a lotus of light, suggesting that speech returns to its divine source.","primary_figures":["Nārāyaṇa","Purāṇic narrator/sage (unspecified)"],"setting":"Cosmic expanse with a faint lotus-throne motif; a small hermitage platform in the foreground to anchor the human voice within the infinite.","lighting_mood":"divine radiance","color_palette":["sapphire blue","liquid gold","pearl white","lotus pink","deep violet"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa towering in the background with gold-leaf aura, shankha-chakra-gadā-padma gleaming, the sage in front offering speech as a garland of golden akṣaras; rich crimson borders, gem-like highlights, symmetrical composition with ornate arch (prabhāvali).","pahari_prompt":"Pahari miniature style: ethereal Nārāyaṇa in a starry sky, delicate akṣara-streams painted like fireflies, the sage seated on a simple mat; cool blues and violets, lyrical clouds, refined facial expressions, subtle gold wash.","kerala_mural_prompt":"Kerala mural style: bold outlines, Nārāyaṇa with large expressive eyes and elaborate crown, akṣaras as stylized motifs around Him, warm red/yellow/green pigments, temple-wall composition with rhythmic patterns.","pichwai_prompt":"Pichwai cloth painting style: central Nārāyaṇa framed by lotus medallions and script-like floral borders, deep indigo field with gold, peacocks and lotuses around the akṣara-stream; devotional symmetry reminiscent of Nathdwara textiles."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["conch shell (distant)","low temple drone (tanpura)","soft bell at cadence","expansive silence"]}
Sandhi Resolution Notes: तमेवाद्यम् = तम् + एव + आद्यम्; स एवोत्थाननिर्वृतः = सः + एव + उत्थाननिर्वृतः; यच्च = यत् + च; यश्चाहम् = यः + च + अहम्; तद्ब्रवीमि = तत् + ब्रवीमि
FAQs
It conveys a non-dual vision: ultimate reality pervades the knower (speaker), knowledge (what is said), and the act of teaching, so all discourse finally points back to the One.
It begins with worship of the Primordial One and then states that He Himself is the peace of awakening, implying that devotion culminates in liberating realization.
It encourages humility and reverence: treat sacred instruction as divine in origin, and align speech and understanding with the highest truth rather than ego-centered claims.