Shloka 14

Gajendra's Deliverance — Gajendra’s Deliverance and the Protective Power of Remembrance (Japa)

Devanagari script

वज्रेन्द्रनीलवैडूर्यतेजोभिर्भासयन् दिशः तृतीयं ब्रह्मसदनं प्रकृष्टं शृङ्गमुत्तमम्

Transliteration

vajrendranīlavaiḍūryatejobhirbhāsayan diśaḥ tṛtīyaṃ brahmasadanaṃ prakṛṣṭaṃ śṛṅgamuttamam

Translation

Illuminating the directions with the splendors of diamond, sapphire (indranīla), and beryl (vaiḍūrya), the third—an excellent, preeminent summit—is the abode of Brahmā.

Speakers

• Not specified in input (context likely a narrator continuing a description of a sacred mountain/region).

Primary Deities

• Brahma

Key Themes

• Sacred geography as divine residence (Brahmā’s seat)
• Gemstone radiance as marker of divinity
• Tripartite sacred topography (three peaks)

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "adbhuta", "secondaryRasa": "shanta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

What does ‘brahma-sadana’ signify in a geographical passage?

It marks a summit as a theophanic locus—treated as Brahmā’s seat or residence—thereby elevating the mountain from mere terrain to a mapped divine realm suitable for pilgrimage and ritual remembrance.

Why list specific gems (vajra, indranīla, vaiḍūrya)?

Gem-lists function as a Purāṇic code for superhuman brilliance and sanctity. They also suggest a ‘cosmic mountain’ aesthetic where peaks shine like jeweled palaces, aligning geography with celestial architecture.

How do these three verses work together structurally?

They build a triadic description of a single sacred massif: a solar-attended golden peak, a lunar-attended silver peak, and a jewel-radiant peak identified with Brahmā—creating a layered cosmography embedded in physical landscape.