Shloka 194
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
द्विसप्ततिं तथान्यानि नियुतान्यधिकानि तु । अशीति च सहस्राणि त्रैलोक्यैश्वर्यवानभूत्
dvisaptatiṃ tathānyāni niyutānyadhikāni tu | aśīti ca sahasrāṇi trailokyaiśvaryavānabhūt
બહોતેર (વર્ષ) તથા વધારાના નિયુત, અને એંસી હજાર (વર્ષ) સુધી તે ત્રિલોકના ઐશ્વર્યથી યુક્ત થયો.
Unspecified (narratorial continuation within Adhyaya 13)
Concept: Even trailokya-aiśvarya (lordship over the three worlds) is time-bound and therefore not the highest goal.
Application: Do not equate success with ultimate fulfillment; pursue devotion and ethical restraint alongside ambition.
Primary Rasa: adbhuta
Secondary Rasa: raudra
Type: celestial_realm
Visual Art Cues: {"scene_description":"A panoramic cosmic map unfurls behind the asura ruler: the earth with oceans and mountains below, the mid-sky with planets and nāga-like cloud currents, and the luminous deva realm above. The king’s insignia—banner, crown, and scepter—casts a long shadow across all three tiers, emphasizing the reach yet also the impermanence of dominion.","primary_figures":["Asura sovereign (Hiraṇyakaśipu implied)","personified Trailokya (three-tiered realms)"],"setting":"A stylized cosmic vista with three stacked realms, like a sacred diagram turned into a royal tableau.","lighting_mood":"divine radiance","color_palette":["celestial blue","sunlit gold","cloud white","emerald green","royal purple"],"tanjore_prompt":"Tanjore painting style: central asura king with ornate gold crown and scepter; behind him a tripartite trailokya rendered in concentric gold-framed panels—earth with oceans, mid-sky with planets, heaven with deva palaces; heavy gold-leaf halos and architectural borders, jewel-toned reds/greens, symmetrical composition.","pahari_prompt":"Pahari miniature style: delicate triptych landscape—lower earth with rivers and forests, middle with swirling clouds and grahas, upper with a bright deva city; the ruler seated to one side, refined detailing on textiles; cool blues and soft greens with lyrical atmosphere.","kerala_mural_prompt":"Kerala mural style: three horizontal registers for the worlds; bold outlines, flat luminous colors; the sovereign in frontal pose with stylized ornaments; lotus and vine motifs framing the cosmic tiers; dominant yellow-red-green palette with controlled blue accents.","pichwai_prompt":"Pichwai cloth painting style: trailokya depicted as ornate bands filled with lotus rosettes and cloud scrolls; central royal figure framed by intricate floral borders; deep blue ground with gold highlights; peacocks and stylized celestial motifs to suggest the upper realm’s splendor."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft cymbals","distant conch","wind through high clouds"]}
Sandhi Resolution Notes: तथान्यानि = तथा + अन्यानि; नियुतान्यधिकानि = नियुतानि + अधिकानि; त्रैलोक्यैश्वर्यवानभूत् = त्रैलोक्य + ऐश्वर्यवान् + अभूत् (सन्धि: य्/व् संयोग, पदसंयोग)
FAQs
It states a specific duration during which a figure attained and held sovereignty (aiśvarya) over the three worlds (trailokya), using large-number terms like niyuta and sahasra.
Niyuta is a traditional Sanskrit large-number term commonly interpreted as ten thousand; here it is used to quantify an extended span of time.
This single verse does not explicitly name a speaker; it reads like narrative exposition within Adhyaya 13, so the speaker is best marked as unspecified without the surrounding verses.