Shloka 11
The Meeting with Puṣkala’s Wife
इति श्रीपद्मपुराणे पातालखंडे शेषवात्स्यायनसंवादे रामाश्वमेधे हयमोचन । पुष्कलभार्यासमागमोनाम एकादशोऽध्यायः
iti śrīpadmapurāṇe pātālakhaṃḍe śeṣavātsyāyanasaṃvāde rāmāśvamedhe hayamocana | puṣkalabhāryāsamāgamonāma ekādaśo'dhyāyaḥ
ಇಂತೆ ಶ್ರೀ ಪದ್ಮಪುರಾಣದ ಪಾತಾಲಖಂಡದಲ್ಲಿ, ಶೇಷ-ವಾತ್ಸ್ಯಾಯನ ಸಂವಾದದೊಳಗೆ, ರಾಮಾಶ್ವಮೇಧ ಮತ್ತು ಹಯಮೋಚನ ಪ್ರಸಂಗದಲ್ಲಿ ‘ಪುಷ್ಕಲನ ಪತ್ನಿಯೊಂದಿಗೆ ಸಮಾಗಮ’ ಎಂಬ ಹನ್ನೊಂದನೆಯ ಅಧ್ಯಾಯವು ಸಮಾಪ್ತವಾಯಿತು.
Narratorial colophon (chapter-ending formula), within the Śeṣa–Vātsyāyana dialogue framework
Concept: Scripture is preserved through named frames, dialogues, and chapter colophons—ensuring faithful transmission of dharma-kathā.
Application: Value sources and lineages: keep notes of where teachings come from; complete what you begin with clarity and gratitude.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a low wooden desk, its final line freshly inked, while a sage-narrator gestures to a listening disciple under a temple lamp. Above them, a faint visionary tableau shows Rāma’s aśvamedha horse being ceremonially released, linking text, ritual, and memory.","primary_figures":["Śeṣa (as cosmic narrator-symbol)","Vātsyāyana (listener-sage)","scribal disciple (optional)","symbolic Rāma-aśvamedha horse (vision vignette)"],"setting":"Quiet āśrama library corner with palm-leaf manuscripts, ink pot, and a small Hari shrine; night stillness outside.","lighting_mood":"temple lamp-lit","color_palette":["warm saffron","ink black","palm-leaf tan","deep brown","soft gold"],"tanjore_prompt":"Tanjore painting style: manuscript and sages in a sanctified interior, gold-leaf borders and haloed figures; inset vignette of the aśvamedha horse release with ornate trappings; rich reds/greens, embossed gold on manuscript frame and shrine ornaments.","pahari_prompt":"Pahari miniature style: intimate scholarly scene with fine linework on palm leaves and wooden desk; gentle lamplight, cool shadows; a small dreamy vignette of the horse release in the background, delicate brushwork and refined faces.","kerala_mural_prompt":"Kerala mural style: stylized sages with bold outlines, manuscript prominently displayed; warm red/yellow/green palette; a framed inset of the horse release, temple-wall composition emphasizing textual sanctity.","pichwai_prompt":"Pichwai cloth painting style: central manuscript motif surrounded by lotus borders and floral filigree; small narrative panels of Rāma’s aśvamedha and hayamocana; deep blue or maroon ground with gold detailing, symmetrical devotional layout."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["page rustle (palm-leaf)","temple bell (single strikes)","tanpura drone","night insects","silence"]}
Sandhi Resolution Notes: भवाञ्जलधिं → भवान् + जलधिम्; तद्धरे → तत् + हरे
FAQs
It is a colophon (ending formula) marking the conclusion of Adhyaya 11, summarizing the textual placement: khanda, dialogue frame, and chapter title.
They are the principal dialogue pair framing this portion of the Pātālakhaṇḍa; the colophon explicitly locates the chapter within their saṃvāda (conversation).
It denotes the “release/freeing of the horse,” a standard motif in Aśvamedha narratives where the sacrificial horse is set free to wander, shaping ensuing events and encounters.