Shloka 46
The Supremacy of Food-Charity and the Rāma–Śambūka Episode
Child Revived through Rājadharma
त्रेतायुगे पुनः प्राप्ते ब्रह्मक्षत्रमनुत्तमम् । अधर्मो द्वापरे तेषां वैश्यान्शूद्रांस्तथाविशत्
tretāyuge punaḥ prāpte brahmakṣatramanuttamam | adharmo dvāpare teṣāṃ vaiśyānśūdrāṃstathāviśat
Ketika Tretā Yuga datang kembali, para Brāhmaṇa dan Kṣatriya menjadi unggul sekali lagi. Namun pada Dvāpara Yuga, adharma pun memasuki para Vaiśya dan Śūdra di antara mereka.
Not specified in the provided excerpt (context needed from surrounding verses of Sṛṣṭikhaṇḍa 35).
Concept: Yugas modulate collective virtue: excellence returns in Tretā among Brahmins and Kshatriyas, while Dvāpara sees adharma spreading further into other varnas.
Application: Recognize moral drift in communities and counter it through personal discipline, truthful speech, and service; do not outsource dharma to ‘others’—each group and person must guard it.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A triptych-like composition: on one side, Tretā Yuga appears as a bright, orderly court where Brahmins chant and Kshatriyas protect with calm strength; on the other, Dvāpara’s hues darken as shadowy figures of adharma seep into marketplaces and workshops. Above, a subtle celestial clock marks the turning of ages.","primary_figures":["symbolic Brahmins (ritualists)","symbolic Kshatriyas (protectors)","symbolic Vaishyas and Shudras","personified Adharma (shadow form)"],"setting":"Mythic city-court transitioning into a bustling bazaar and artisan quarter, rendered as a moral landscape.","lighting_mood":"golden dawn shifting to smoky twilight","color_palette":["sunlit gold","ivory","indigo","rust red","ash gray"],"tanjore_prompt":"Tanjore painting style: split-panel yuga scene with ornate gold leaf borders; Tretā panel shows Brahmin priests and Kshatriya king under a jeweled arch, Dvāpara panel shows creeping dark motifs of adharma in the lower registers; rich reds/greens, embossed gold halos and decorative floral filigree.","pahari_prompt":"Pahari miniature style: gentle narrative sequencing across the page—bright palace courtyard to muted bazaar; delicate faces, fine textiles, distant hills; adharma suggested through cooler shadows and subtle distortions rather than grotesque forms.","kerala_mural_prompt":"Kerala mural style: bold outlines and symbolic color blocks—bright yellow-red for Tretā order, darker greens and browns for Dvāpara intrusion; stylized figures with expressive eyes; temple-wall composition with clear iconographic separation.","pichwai_prompt":"Pichwai cloth painting style: circular mandala of four yugas with Tretā and Dvāpara emphasized; lotus borders, peacocks at corners; adharma shown as dark vine-like tendrils; deep blues and gold with intricate floral patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura","soft mridangam pulse","distant conch (transition marker)","market ambience fading into silence"]}
Sandhi Resolution Notes: वैश्यान्शूद्रांस्तथाविशत्→वैश्यान्+शूद्रान्+तथा+अविशat; ब्रह्मक्षत्रम्→ब्रह्मन्+क्षत्र (द्वन्द्व).
FAQs
It presents a yuga-based moral decline narrative: excellence in dharma is restored in Tretā, while in Dvāpara adharma spreads further into society.
No. This verse focuses on yuga-dharma and social-moral conditions rather than sacred places.
Dharma is portrayed as variable across ages; the implied lesson is to consciously uphold righteousness even when adharma becomes widespread.