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Shloka 9

Preparations for the Churning of the Ocean

Prelude to Samudra Manthana

नष्टमंतर्द्धानवत्यां तदा तस्यां जगत्त्रयम् । क्षुत्पिपासान्विताः सर्वे चुक्रुशुर्वै निरंतरम्

naṣṭamaṃtarddhānavatyāṃ tadā tasyāṃ jagattrayam | kṣutpipāsānvitāḥ sarve cukruśurvai niraṃtaram

ಅಂತರ್ಧಾನಶಕ್ತಿಯುಳ್ಳ ಆಕೆ ಅಂತರಧಾನವಾದಾಗ, ಕ್ಷುಧಾ-ಪಿಪಾಸೆಯಿಂದ ಪೀಡಿತವಾದ ತ್ರಿಲೋಕವು ನಿರಂತರವಾಗಿ ಅಳಲಾರಂಭಿಸಿತು।

नष्टम्lost / vanished
नष्टम्:
Visheshana (Adjective/विशेषण)
TypeAdjective
Rootनष्ट (कृदन्त; √नश् धातु)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; क्त-प्रत्ययान्त (PPP)
अन्तर्धान-वत्याम्in (the state of) disappearance/withdrawal
अन्तर्धान-वत्याम्:
Adhikarana (Location/अधिकरण)
TypeNoun
Rootअन्तर्धान (प्रातिपदिक) + वत् (तद्धित; -वत्)
Formस्त्रीलिङ्ग, सप्तमी (7th), एकवचन; ‘-वती’ = possessing (fem.)
तदाthen
तदा:
Avyaya (Adverbial)
TypeIndeclinable
Rootतदा (अव्यय)
Formकालवाचक-अव्यय (temporal adverb)
तस्याम्in that (condition/time)
तस्याम्:
Adhikarana (Location/अधिकरण)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, सप्तमी (7th), एकवचन
जगत्-त्रयम्the three worlds
जगत्-त्रयम्:
Karta (Subject/कर्ता)
TypeNoun
Rootजगत् (प्रातिपदिक) + त्रय (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; द्विगु-समास (numeral compound)
क्षुत्-पिपासा-अन्विताःafflicted with hunger and thirst
क्षुत्-पिपासा-अन्विताः:
Visheshana (Adjective/विशेषण)
TypeAdjective
Rootक्षुत् (प्रातिपदिक) + पिपासा (प्रातिपदिक) + अन्वित (कृदन्त; √इ धातु with anu-)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन; ‘अन्वित’ = क्त-प्रत्ययान्त (PPP)
सर्वेall (beings)
सर्वे:
Karta (Subject/कर्ता)
TypeNoun
Rootसर्व (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st), बहुवचन
चुक्रुशुःcried out
चुक्रुशुः:
Kriya (Action/क्रिया)
TypeVerb
Root√क्रुश् (धातु)
Formलिट्-लकार (Perfect), प्रथमपुरुष (3rd), बहुवचन; परस्मैपदम्
वैindeed
वै:
Avyaya (Particle)
TypeIndeclinable
Rootवै (अव्यय)
Formनिपात (emphatic particle)
निरन्तरम्continuously
निरन्तरम्:
Avyaya (Adverbial)
TypeIndeclinable
Rootनिरन्तर (प्रातिपदिक)
Formक्रियाविशेषणरूपेण अव्ययीभूत (adverbial accusative used as indeclinable)

Narrative voice (Purāṇic narrator; specific dialogue pair not identifiable from the single verse alone)

Concept: When sustaining grace withdraws, even the three worlds experience scarcity; beings must seek refuge in higher order (Brahmā → Viṣṇu).

Application: Treat abundance as stewardship; respond to crisis with collective prayer, ethical restraint, and turning toward sattvic supports rather than blame.

Primary Rasa: karuna

Secondary Rasa: bhayanaka

Visual Art Cues: {"scene_description":"A vast, cracked earth stretches beneath a dim, dust-choked sky; beings of the three worlds—devas, humans, and nāgas—stand with parched lips, hands raised in helpless lament. The air shimmers with heat as the last lotus ponds shrink to mud, and distant temples fall silent, awaiting a saving revelation.","primary_figures":["devas (collective)","humans (collective)","yakṣas/gandharvas (suggested)","nāgas (suggested)"],"setting":"cosmic panorama of the three worlds under drought—withered groves, empty riverbeds, silent sacrificial fires","lighting_mood":"sun-bleached haze with ominous dimness","color_palette":["dust ochre","ash gray","burnt umber","pale gold","smoky indigo"],"tanjore_prompt":"Tanjore painting style: a wide drought-stricken cosmic tableau with clustered devas and mortals crying out, stylized cracked earth patterns, sparse withered trees; use gold leaf to highlight divine ornaments and faint halos, rich maroons and deep greens reserved for remaining sacred cloth and banners, gem-studded jewelry contrasting the barren landscape, traditional South Indian iconographic faces and postures of supplication.","pahari_prompt":"Pahari miniature style: lyrical yet stark landscape with delicate linework showing cracked riverbeds and leafless branches; small refined figures of devas and humans in pleading gestures, cool distant hills fading into smoky indigo, subtle washes of ochre and gray, expressive eyes conveying karuṇa, minimal architecture of a silent shrine in the background.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments depicting a parched world; groups of devas and sages with characteristic large eyes and stylized crowns, red-ochre ground with gray-blue sky, rhythmic patterning of cracks and withered foliage, temple-wall aesthetic emphasizing collective lament.","pichwai_prompt":"Pichwai cloth painting style: an unusual drought-themed pichwai with lotus motifs turned into dried outlines around the border; central band of devotees and celestial beings in prayer, peacocks subdued and cows thin near an empty pond; deep blues minimized, replaced by ochres and muted gold, intricate floral borders showing scarcity—buds closed, petals fallen—hinting at the need for Viṣṇu’s grace."}

Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["dry wind","distant lament","silence between phrases","faint temple bell (far)"]}

Sandhi Resolution Notes: नष्टम् + अन्तर्धानवत्याम् → नष्टमंतर्द्धानवत्याम् (म् + अ → मं; अन्तर्धान- with doubling); जगत् + त्रयम् → जगत्त्रयम् (व्यञ्जन-सन्धि); क्षुत् + पिपासा → क्षुत्पिपासा; चुक्रुशुः + वै → चुक्रुशुर्वै (विसर्ग-सन्धि)

FAQs

The verse refers to a feminine figure described only by her attribute—antardhāna (the ability to vanish). Without adjacent verses, her identity cannot be fixed confidently; the line emphasizes the consequence of her disappearance rather than naming her.

It highlights cosmic dependence: when a sustaining presence or principle withdraws, even the entire jagat-traya becomes vulnerable, underscoring the need for restoration of dharma and divine support.

The imagery teaches that neglect of sustaining duties (nourishment, protection, order) leads to collective suffering; it also frames distress as a prompt to seek remedy through right action and divine refuge.