Shloka 66
Rudra’s Removal of Brahmahatyā; Kapālamocana and Avimukta Māhātmya; Origins of Nara and Karṇa
link to Arjuna/Karna query
अथाब्रवीत्तदा विष्णुं देवेशो दुःखितो वचः । अस्मिन्मन्वंतरेऽतीते चतुर्विंशतिके युगे
athābravīttadā viṣṇuṃ deveśo duḥkhito vacaḥ | asminmanvaṃtare'tīte caturviṃśatike yuge
បន្ទាប់មក ព្រះអធិទេវៈ ដោយព្រះទុក្ខសោក បានមានព្រះវាចាទៅកាន់ព្រះវិṣṇុថា៖ «ក្នុងមន្វន្តរៈនេះដែលបានកន្លងផុតទៅ ក្នុងយុគទីម្ភៃបួន…»
Deveśa (Lord of the gods—contextually likely Indra, though the verse itself does not specify)
Concept: In cycles of time, even exalted powers face sorrow; refuge in Viṣṇu is the stabilizing center beyond manvantara flux.
Application: When overwhelmed by long-running problems, step back to a higher anchor—prayer, remembrance, and principled counsel—rather than reactive control.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Indra, crown slightly askew and eyes heavy with worry, stands before Viṣṇu’s serene presence, hands folded in surrender. Behind them, a vast cosmic clock of yugas—wheels within wheels—turns in the sky, emphasizing the weight of time and the need for divine restoration.","primary_figures":["Indra (Deveśa)","Viṣṇu (Nārāyaṇa)","celestial attendants (Garuḍa, devas)"],"setting":"a luminous divine hall with lotus motifs and a backdrop of rotating yuga-wheels","lighting_mood":"divine radiance","color_palette":["sapphire blue","radiant gold","lotus pink","white jasmine","smoky violet"],"tanjore_prompt":"Tanjore painting style: Viṣṇu seated on a lotus-throne with gold leaf aura, Indra kneeling in sorrow, Garuḍa and attendants flanking, yuga-wheel mandala behind, heavy gold embellishment, rich reds/greens, ornate jewelry and patterned borders with lotus and chakra motifs.","pahari_prompt":"Pahari miniature style: Viṣṇu calm and blue-hued, Indra pleading with softened expression, delicate cloud architecture, a faint circular yuga-wheel in the sky, cool blues and gentle pinks, refined facial features and lyrical spatial depth.","kerala_mural_prompt":"Kerala mural style: bold outlines, Viṣṇu with large expressive eyes and stylized ornaments, Indra in supplication, chakra and lotus symbols prominent, warm reds/yellows/greens with deep blue for Viṣṇu, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: central Viṣṇu with lotus and chakra motifs, Indra at the lower edge in prayer, intricate floral borders, deep indigo background with gold highlights, yuga-wheel rendered as a decorative mandala pattern."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["tanpura drone","soft conch","gentle temple bells","vast silence"]}
Sandhi Resolution Notes: अथाब्रवीत् → अथ + अब्रवीत्; अब्रवीत्तदा → अब्रवीत् + तदा (व्यञ्जन-सन्धिः); अस्मिन्मन्वंतरेऽतीते → अस्मिन् + मन्वन्तरे + अतीते (विसर्ग/अवग्रह)
FAQs
The verse calls the speaker “Deveśa” (lord of the gods) without naming him. In many Purāṇic contexts this often points to Indra, but confirmation depends on surrounding verses in Adhyaya 14.
It uses layered cosmic timekeeping: a Manvantara (a long Manu-era) and a numbered yuga within it (“twenty-fourth”), signaling a specific point in vast cyclical chronology.
The tone implies distress and recourse to Viṣṇu for resolution—reflecting the Purāṇic theme that divine order is restored by approaching the preserving deity with humility and truthful speech.