Shloka 20
ननाम देवताः सर्वा उवाच च पुनः पुनः । यदि तुष्टा महाभागा त्रयो देवाः सनातनाः
nanāma devatāḥ sarvā uvāca ca punaḥ punaḥ | yadi tuṣṭā mahābhāgā trayo devāḥ sanātanāḥ
ເທວະທັງປວງໄດ້ນົບນ້ອມກົດກາບ ແລະເຂົາໄດ້ກ່າວຊ້ຳໆວ່າ: “ຖ້າເທວະນິລັນດອນທັງສາມ ຜູ້ມີມະຫາພາກະ ພໍພຣະໄທ…”
Unspecified (narrative voice; the speaker is not identified in this single verse excerpt)
Concept: Divine pleasure (tuṣṭi) is invoked through humility and repeated prayer; grace is the hinge between human aspiration and divine sanction.
Application: Cultivate consistent reverence—repeat sincere prayers, bow mentally/physically, and align requests with dharma rather than egoic gain.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A celestial assembly pauses in luminous stillness as all devas bow in unison, their crowns tilted toward the supplicant. The speaker, hands folded, repeats his plea with steady breath, while three radiant divine presences loom like pillars of eternity behind a veil of light.","primary_figures":["assembled devas (Indra, Agni, Varuṇa as representatives)","a supplicant devotee/kingly figure","the 'three eternal gods' as a triadic radiance (iconographically suggested rather than literal)"],"setting":"Celestial court with jeweled pillars, lotus-carved steps, and a wide mandala floor; faint clouds curling at the edges.","lighting_mood":"divine radiance","color_palette":["sapphire blue","gold leaf","pearl white","lotus pink","emerald green"],"tanjore_prompt":"Tanjore painting style: a jeweled deva-sabhā with all devas in namaskāra, the supplicant centered with folded hands, a triadic aura behind (three concentric halos), heavy gold leaf on crowns and pillars, rich vermilion and emerald garments, gem-studded ornaments, crisp South Indian iconographic symmetry, ornate arch (prabhāmaṇḍala) framing the scene.","pahari_prompt":"Pahari miniature style: delicate devas bowing in a lyrical celestial pavilion, soft gradients of sky-blue and pearl, refined faces and slender hands in añjali, triadic glow hinted by three overlapping halos, floral arabesques on the floor, gentle cloud bands and distant pale mountains for poetic depth.","kerala_mural_prompt":"Kerala mural style: bold black outlines, large expressive eyes, devas in layered rows performing namaskāra, the supplicant in front with folded hands, triadic aura rendered as three luminous discs, warm red-yellow-green palette, temple-wall texture, stylized lotus motifs along the border.","pichwai_prompt":"Pichwai cloth painting style: a devotional court transformed into a lotus-filled mandala, ornate floral borders, peacocks at corners, deep indigo background with gold highlights, devas bowing toward a central radiant presence, intricate white dot work and lotus motifs emphasizing sanctity and surrender."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft conch shell","gentle drone (tanpura)","silence between phrases"]}
Sandhi Resolution Notes: No major external sandhi beyond standard word-joining in pāda breaks.
FAQs
In Purāṇic usage this typically refers to the Trimūrti—Brahmā, Viṣṇu, and Śiva—described here as “sanātana” (eternal/primeval).
It conveys earnestness and insistence—an emphatic, devotional petition made with humility after bowing.
It highlights reverence (namaskāra) and humility before approaching the divine, implying that divine favor is sought through respectful devotion and sincere supplication.