Shloka 58
नवोग्रसेनस्य सुताः कंसस्तेषां च पूर्वजः । न्यग्रोधस्तु सुनामा च कंकः शंकुः सुभूश्च यः
navograsenasya sutāḥ kaṃsasteṣāṃ ca pūrvajaḥ | nyagrodhastu sunāmā ca kaṃkaḥ śaṃkuḥ subhūśca yaḥ
ನವ-ಉಗ್ರಸೇನನ ಪುತ್ರರು—ಅವರಲ್ಲಿ ಕಂಸನು ಜ್ಯೇಷ್ಠನು; ಹಾಗೆಯೇ ನ್ಯಗ್ರೋಧ, ಸುನಾಮಾ, ಕಂಕ, ಶಂಕು ಮತ್ತು ಸುಭೂ ಇದ್ದರು.
Unspecified narrator (Purāṇic narration within Sṛṣṭikhaṇḍa)
Concept: Lineage narration frames the moral universe in which dharma and adharma will later be judged; names like Kaṃsa foreshadow the fall of tyranny under Bhagavān’s protection of devotees.
Application: Read family/lineage narratives as reminders that power and birth are transient; cultivate humility and align authority with dharma.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open in a sage’s hands as luminous syllables rise like golden threads, forming a genealogical tree. In the branches appear faint, symbolic portraits of Kaṃsa and his brothers—half in shadow, half in ritual light—hinting at destiny before the drama unfolds.","primary_figures":["Purāṇic narrator-sage (generic)","Kaṃsa (symbolic, not central)","Nyagrodha","Sunāmā","Kaṃka","Śaṃku","Subhū"],"setting":"Forest āśrama library with palm-leaf manuscripts, ink pot, and a small Viṣṇu altar in the background","lighting_mood":"temple lamp-lit","color_palette":["aged palm-leaf beige","lamp-flame amber","sandalwood brown","indigo shadow","gold leaf"],"tanjore_prompt":"Tanjore painting style: a seated sage holding a palm-leaf manuscript, behind him a small Viṣṇu shrine with conch and discus motifs; above, a stylized genealogical tree with medallion portraits labeled Kaṃsa, Nyagrodha, Sunāmā, Kaṃka, Śaṃku, Subhū; heavy gold leaf halos, rich vermilion and emerald textiles, gem-studded ornaments on the shrine, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a quiet Himalayan-forest āśrama scene with a sage reading a manuscript; delicate, lyrical linework shows a translucent family-tree canopy where small oval portraits of the brothers float like leaves; cool greens and soft blues, refined faces, minimal ornament, poetic negative space.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the sage in frontal three-quarter pose with large expressive eyes, manuscript in hand; behind, a simplified Viṣṇu lamp and conch; above, circular name-medallions for the brothers arranged as a sacred diagram, dominated by red, yellow, and green.","pichwai_prompt":"Pichwai cloth painting style: ornate floral borders with lotus and tulasī motifs framing a central manuscript-reading sage; in the upper register, medallions of the brothers arranged like a garland; deep blue ground with gold detailing, intricate vine patterns, temple textile aesthetic (Krishna implied through Yādava lineage symbolism)."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft tanpura drone","page-rustle of palm leaves","distant temple bell","night insects"]}
Sandhi Resolution Notes: कंसस्तेषां = कंसः तेषाम्; न्यग्रोधस्तु = न्यग्रोधः तु; सुभूश्च = सुभूः च.
FAQs
It records a genealogical list—naming Nava-Ugrasena’s sons and identifying Kaṃsa as the eldest—typical of Purāṇic dynastic narration.
Not directly; it is primarily a lineage statement. Any theological or ethical lesson would come from the broader narrative context around these figures.
Nava-Ugrasena and his sons: Kaṃsa (the eldest), Nyagrodha, Sunāmā, Kaṃka, Śaṃku, and Subhū.