Shloka 49
Sumanā and Somaśarmā: Tapas at the Kapilā–Revā Confluence and the Theophany of Hari
जय योगीश योगीन्द्र जय नागांगशायन । यज्ञांग जय यज्ञेश जय शाश्वतसर्वग
jaya yogīśa yogīndra jaya nāgāṃgaśāyana | yajñāṃga jaya yajñeśa jaya śāśvatasarvaga
જય હો, હે યોગીઓના ઈશ્વર, યોગીન્દ્ર! જય હો, હે નાગશય્યાશાયી! જય હો, જેમના અંગો જ યજ્ઞ છે; હે યજ્ઞેશ! જય હો, હે શાશ્વત સર્વવ્યાપી!
A devotee/praiser (stotra-style invocation within the narrative; specific named speaker not explicit from the single verse).
Concept: The Lord is simultaneously Yogīśvara (inner ruler of yoga) and Yajñeśa (lord of sacrifice); yoga and yajña culminate in Viṣṇu.
Application: Unify spiritual disciplines: let meditation (yoga) and daily duties/offerings (yajña) be dedicated to Nārāyaṇa; see the divine in the means and the end.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"Viṣṇu reclines upon Ananta in the milk-ocean, yet his gaze is awake—Yogīśvara beyond sleep. Around him, subtle symbols of sacrifice appear: a luminous altar pattern in the waves, and offerings transforming into light that returns to his limbs as the very body of yajña.","primary_figures":["Viṣṇu (Nārāyaṇa/Mādhava)","Ananta-Śeṣa","attendant devotees/sages (optional)"],"setting":"Kṣīra-sāgara (milk ocean) with a celestial horizon; faint sacrificial geometry (vedi) shimmering in the water.","lighting_mood":"divine radiance","color_palette":["midnight blue","moon-white","conch-shell cream","molten gold","serpent-green"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa reclining on Ananta over stylized milk-ocean waves; gold leaf halo and ornate prabhāvali; sacrificial motifs (vedi, ladles, flames) rendered as gold patterns around his limbs; rich reds/greens in textiles, gem-studded ornaments, and a radiant 'sarvagata' aura filling the frame.","pahari_prompt":"Pahari miniature style: serene Ananta-śayana with delicate wave patterns; cool blues and silvers; tiny yajña symbols floating like poetic metaphors; refined facial features and soft shading; a quiet cosmic expanse suggesting all-pervasion.","kerala_mural_prompt":"Kerala mural style: bold outlines; Viṣṇu on Śeṣa with large eyes and elaborate crown; rhythmic coils of the serpent; stylized flames and vedi motifs integrated into the border; strong reds/yellows/greens with deep blue body tone.","pichwai_prompt":"Pichwai cloth painting style: central reclining Viṣṇu with lotus and conch motifs; ornate floral borders; repeated yajña icons as decorative pattern; deep blues and gold; peacocks and lotuses framing the cosmic ocean as a devotional textile tableau."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["conch shell","temple drums","cymbals","oceanic hush","chant chorus responding 'jaya'"]}
Sandhi Resolution Notes: नागांगशायन = नागाङ्गशायन; यज्ञांग = यज्ञाङ्ग; शाश्वतसर्वग = शाश्वत + सर्वग
FAQs
The verse praises Viṣṇu, addressing him as Yogīśa/Yogīndra (supreme master of yogic realization), Nāgāṅgaśāyana (reclining on Ananta/Śeṣa), and Yajñeśa (lord of sacrifice), presenting him as both the mystical goal and the ritual foundation.
It echoes the Purāṇic/Vedic idea that the cosmos and sacred action are grounded in the Divine: sacrifice is not merely an external rite, but is ultimately constituted by and offered within the all-pervading Lord.
By using repeated “jaya” acclamations and divine epithets, it models devotional praise (stotra) as a direct spiritual practice—remembering the Lord’s attributes as eternal, all-pervading, and the inner essence of worship.