Shloka 82
The Tārakāmaya War: Divine Mustering, Māyā Countermeasures, Aurva Fire, and Viṣṇu’s Slaying of Kālanemi
जनानां वृत्तयस्तिस्रो ये गृहाश्रमवासिनः । अस्माकं च वने वृत्तिर्वनाश्रमनिवासिनां
janānāṃ vṛttayastisro ye gṛhāśramavāsinaḥ | asmākaṃ ca vane vṛttirvanāśramanivāsināṃ
ສຳລັບຜູ້ຢູ່ໃນຄະຫັດຖາສຣົມ ກ່າວກັນວ່າມີວິທີຫາລ້ຽງຊີບສາມປະການ; ແຕ່ສຳລັບພວກເຮົາຜູ້ພຳນັກໃນວນາສຣົມ ຊີວິດພຶງພາຢູ່ໃນປ່ານັ້ນເອງ।
Unspecified (context not provided; likely a forest-dweller/vanāśramī speaking within the narrative dialogue of Sṛṣṭikhaṇḍa)
Concept: Different āśramas have distinct livelihoods and disciplines; forest-dwellers embrace a livelihood aligned with renunciation and dependence on nature.
Application: Honor your life-stage duties without envy: householders regulate earning and giving; forest-minded practitioners reduce consumption, practice contentment, and increase japa/adhyāyana.
Primary Rasa: shanta
Secondary Rasa: vira
Type: forest
Visual Art Cues: {"scene_description":"A calm forest hermitage where vānaprasthas gather fallen fruits and kusa grass, their movements measured and quiet. In the distance, a village path hints at the gṛhastha world, while the foreground shows the forest livelihood—simple tools, leaf-bowls, and a small fire altar—signifying distinct modes of living.","primary_figures":["vānaprastha ascetics","gṛhastha couple (distant, optional)","forest sage teacher (optional)"],"setting":"dense woodland āśrama with hut, fire altar, leaf plates, fruit trees, deer nearby","lighting_mood":"forest dappled","color_palette":["moss green","earth brown","smoke gray","pale turmeric","sky blue"],"tanjore_prompt":"Tanjore painting style: forest āśrama scene with vānaprasthas collecting fruits and tending a small altar, gold leaf accents on sacred fire and subtle halos, rich greens and reds, ornate borders, traditional South Indian stylization of trees and garments.","pahari_prompt":"Pahari miniature style: lyrical forest with delicate leaves and birds; ascetics in simple ochre/white garments carrying leaf-bowls, a distant village path painted in soft perspective, cool mountain palette and refined facial features.","kerala_mural_prompt":"Kerala mural style: stylized forest canopy and hut with bold outlines; vānaprasthas in rhythmic poses, flat pigments (red/yellow/green), decorative border motifs, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: ornate floral border framing a forest livelihood tableau; stylized trees, peacocks, and lotus motifs; ascetics with leaf-bowls and a small altar, deep blues and greens with gold highlights, textile-like patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["rustling leaves","birdsong","soft crackle of fire","distant cowbells (faint)"]}
Sandhi Resolution Notes: gṛhāśramavāsinaḥ = gṛha-āśrama-vāsinaḥ; vṛttirvanāśramanivāsināṃ = vṛttiḥ + vana-āśrama-nivāsinām.
FAQs
It contrasts household life—where multiple livelihood options are recognized—with forest-stage life, where subsistence is understood as depending on what the forest provides, aligned with renunciation and simplicity.
It does not condemn household life; it distinguishes duties and means of living by stage of life, emphasizing appropriateness (yathā-āśrama) rather than superiority.
Live in accordance with one’s chosen or prescribed life-stage duties: householders sustain society through regulated livelihoods, while forest-dwellers practice restraint and contentment with minimal dependence.