Shloka 20
Bala: The Rise and Slaying of the Dānava
and the Devas’ Restoration
जेतारं सर्वलोकानां ममानंदकरं द्विज । सर्वलक्षणसंपन्नं पुत्रं मे देहि त्वं विभो
jetāraṃ sarvalokānāṃ mamānaṃdakaraṃ dvija | sarvalakṣaṇasaṃpannaṃ putraṃ me dehi tvaṃ vibho
Wahai brāhmaṇa (dvija), kurniakanlah kepadaku seorang putera—yang menaklukkan segala loka, yang membawa kegembiraan kepadaku, dan yang lengkap dengan segala tanda-tanda bertuah, wahai Yang Maha Perkasa.
Unspecified petitioner (speaker not identifiable from the single verse alone)
Concept: Human longing is to be refined through dharmic petition: seeking progeny not merely for lineage, but for virtue, auspiciousness, and world-benefiting strength.
Application: When praying for success (children, work, influence), articulate ethical intentions: ask for character, wisdom, and the capacity to benefit others, not only personal gain.
Primary Rasa: karuna
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A distressed yet dignified woman kneels before a venerable brāhmaṇa-sage, palms joined, her eyes shining with hope and tears. The sage sits on a kusa seat beside a small fire altar, listening with steady compassion as the petition for a world-conquering, auspicious son is voiced.","primary_figures":["petitioning woman","brāhmaṇa sage (dvija)"],"setting":"Hermitage courtyard with flowering trees, water pot (kamaṇḍalu), palm-leaf texts, and a modest yajña space.","lighting_mood":"golden dawn","color_palette":["warm gold","earth brown","ivory white","vermillion","forest green"],"tanjore_prompt":"Tanjore painting style: the petitioner woman in rich sari kneels with añjali-mudrā before a seated brāhmaṇa sage; gold leaf highlights on the sage’s halo-like aura, ritual vessels, and borders; deep red and green architectural backdrop with temple-like pillars; ornate jewelry and patterned textiles rendered with gem-like detailing.","pahari_prompt":"Pahari miniature style: intimate hermitage scene—soft dawn light, delicate facial expressions, the woman’s pleading posture, the sage’s calm gaze; cool greens and pale gold sky, fine brushwork on leaves and garments, distant hills and a small stream suggested in the background.","kerala_mural_prompt":"Kerala mural style: stylized figures with bold outlines—woman in añjali, sage seated with kamaṇḍalu; flat fields of red, yellow, and green; decorative floral borders; the emotional focus conveyed through large eyes and poised hand gestures.","pichwai_prompt":"Pichwai cloth painting style: devotional border of lotuses and creepers framing a central supplication scene; symbolic śaṅkha-cakra motifs in corners to hint Vaishnava auspiciousness; deep blue background with gold accents, peacocks perched on flowering branches, intricate textile patterns on garments"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["soft sobbing hush","rustling leaves","gentle fire crackle","distant conch (faint)"]}
Sandhi Resolution Notes: मम+आनन्दकरम् → ममानन्दकरम् (स्वर-सन्धि); अन्यत्र स्पष्ट-पदविभागः।
FAQs
'Dvija' indicates a brāhmaṇa (twice-born). 'Vibho' is an honorific meaning “mighty one/lord.” From this single verse alone, the exact identity of the addressed person cannot be fixed without surrounding context.
The verse asks for a son who is victorious (“conqueror of all worlds”), a source of joy to the parent, and “sarva-lakṣaṇa-sampanna”—possessing all auspicious qualities and marks associated with excellence and good fortune.
It reflects the traditional view that blessings should be sought for virtuous, auspicious qualities—excellence joined with well-being—rather than for mere power alone.