Shloka 33
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
तस्य भाजस्य भार्ये द्वे सुषुवाते सुतान्बहून् । नेमिं चकृकणं चैव वृष्णिं परपुरंजयं
tasya bhājasya bhārye dve suṣuvāte sutānbahūn | nemiṃ cakṛkaṇaṃ caiva vṛṣṇiṃ parapuraṃjayaṃ
ພຣະຍາສອງອົງຂອງ ພາຊະ ໄດ້ປະສູດບຸດຫຼາຍອົງ ຄື ເນມິ, ຈະກຶກະນະ, ວຶດສະນິ, ແລະ ປະຣະປຸຣັນຊະຍະ ຜູ້ພິຊິດນະຄອນຂອງສັດຕູ.
Narratorial genealogy passage (speaker not explicit in the provided verse)
Concept: Lineage (vaṃśa) is preserved through dharmic household life, enabling the unfolding of divine purposes in history.
Application: Honor family responsibilities and ethical continuity; see one’s life as part of a larger sacred story shaped by dharma.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A courtly genealogical tableau: two queens seated beside King Bhāja, attendants holding palm-leaf registers as the names of sons are ceremonially announced. The children—Nemi, Cakṛkaṇa, Vṛṣṇi, and Parapuraṃjaya—are shown as princely youths with distinct emblems, while a sage-scribe records the vaṃśa for posterity.","primary_figures":["King Bhāja","Two queens of Bhāja","Nemi","Cakṛkaṇa","Vṛṣṇi","Parapuraṃjaya","court scribe/sage"],"setting":"royal sabhā with carved pillars, genealogical scrolls, ritual lamps, and conch motifs hinting at Vaiṣṇava destiny","lighting_mood":"temple lamp-lit","color_palette":["royal crimson","antique gold","sandalwood beige","emerald green","lapis blue"],"tanjore_prompt":"Tanjore painting style: King Bhāja enthroned with two queens, four princely sons presented in a ceremonial lineage proclamation, gold leaf halos and ornate arch, rich reds and greens, gem-studded crowns, traditional South Indian iconography, intricate floral borders and conch-disc motifs subtly foreshadowing Vaiṣṇava lineage.","pahari_prompt":"Pahari miniature style: intimate palace veranda scene of Bhāja’s family, delicate brushwork and refined faces, soft textiles and patterned carpets, cool yet luminous palette, distant hills and a river ribbon beyond the palace, lyrical naturalism emphasizing dynastic continuity.","kerala_mural_prompt":"Kerala mural style: frontal royal group composition with bold black outlines, natural pigments, stylized eyes, Bhāja and queens centered, sons in symmetrical arrangement, decorative lotus and conch patterns, red/yellow/green dominance with restrained blue accents.","pichwai_prompt":"Pichwai cloth painting style: lineage celebration framed by lotus vines and peacock-feather borders, deep indigo background with gold detailing, princely children amid floral motifs; subtle Krishna-Vṛṣṇi foreshadowing via tiny conch and chakra emblems in the border, Nathdwara-inspired ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridang pulse","tanpura drone","page-turn of palm-leaf manuscript","temple bells in distance"]}
Sandhi Resolution Notes: sutānbahūn = sutān bahūn; caiva = ca eva; parapuraṃjayaṃ treated as compound proper name (para-pura-jaya).
FAQs
It records a genealogical detail: Bhāja’s two wives bore several sons, and four are named—Nemi, Cakṛkaṇa, Vṛṣṇi, and Parapuraṃjaya.
Parapuraṃjaya is presented as an epithet-like name meaning “conqueror of enemy/other cities,” indicating martial prowess or royal power in the lineage.
In the Sṛṣṭikhaṇḍa, creation-era narration often includes dynastic and progeny lists to map the unfolding of human and royal lineages within the cosmic order.