Shloka 108
The Tārakāmaya War: Divine Mustering, Māyā Countermeasures, Aurva Fire, and Viṣṇu’s Slaying of Kālanemi
ततो युगांते भूतानामेष चाहं च पुत्रक । सहितो विचरिष्यावो निष्पुराणकराविह
tato yugāṃte bhūtānāmeṣa cāhaṃ ca putraka | sahito vicariṣyāvo niṣpurāṇakarāviha
പിന്നെ യുഗാന്തത്തിൽ, മകനേ, ഇവനും ഞാനും ഒരുമിച്ച് ഇവിടെ സഞ്ചരിക്കും; ലോകത്തെ പുരാണരഹിതമാക്കും.
Uncertain (context-dependent; not identifiable from the single verse alone)
Concept: All narratives and structures are time-bound; at yugānta even ‘texts/world-orders’ are withdrawn, pointing to the transience of manifested knowledge-forms.
Application: Hold teachings with reverence yet without clinging; use scripture to transform conduct now, remembering impermanence of all conditioned forms.
Primary Rasa: bhayanaka
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"At the edge of time, a dim, wind-scoured world lies stripped of familiar forms; ash-like clouds coil across a darkened sky. Two cosmic figures—elder and ‘child’—walk across a dissolving landscape where fragments of palm-leaf manuscripts and temple silhouettes fade into mist, symbolizing the withdrawal of Purāṇic order.","primary_figures":["cosmic elder (speaker, unspecified)","pūtraka (child/son figure)","personified Time (Kāla) as a shadow presence"],"setting":"Yugānta wasteland: collapsing horizons, drifting ash, broken pillars, vanishing script-motifs.","lighting_mood":"storm-lit","color_palette":["charcoal gray","ashen white","blood red","dull gold","smoky violet"],"tanjore_prompt":"Tanjore painting style: apocalyptic yugānta scene framed by a temple-arch motif; two figures walking over cracked earth with fading manuscript patterns; dramatic gold leaf used sparingly as ‘dying radiance’ around halos; rich maroons and blacks, embossed clouds and flames at the margins.","pahari_prompt":"Pahari miniature style: lyrical yet ominous landscape with pale mountains and smoky skies; two travelers in simple garments, delicate brushwork showing dissolving script fragments carried by wind; subdued palette, refined faces conveying solemn resolve.","kerala_mural_prompt":"Kerala mural style: bold outlines of two figures against swirling dark cloud bands; stylized collapsing architecture; strong contrasts of red/ochre/black, large expressive eyes, rhythmic composition suggesting cosmic inevitability.","pichwai_prompt":"Pichwai cloth painting style: symbolic yugānta textile—central path with two figures, borders of withering lotus motifs and fading conch patterns; deep indigo field with gold accents turning to ash-white; decorative yet unsettling symmetry."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["distant thunder","wind roar","conch blast","sudden silences"]}
Sandhi Resolution Notes: yuga + ante → yugāṃte; bhūtānām + eṣaḥ → bhūtānāmeṣa; niṣpurāṇakarau + iha → niṣpurāṇakarāviha (vowel sandhi: au+i → āviha).
FAQs
It frames events within yuga-cycles, implying that major shifts in the world’s religious or narrative order can occur at a yuga’s end.
Literally “making (it) without Purāṇas.” Depending on context, it can imply suppressing, removing, or rendering ineffective Purāṇic narratives/teachings in the world.
It cautions that sacred knowledge traditions can be vulnerable in periods of decline, encouraging preservation, discernment, and recommitment to dharma during transitional times.