Shloka 86
The Episode of Vena: Purification, the ‘Vāsudevābhidhā’ Hymn, and the Dharma of Charity
Times, Tīrthas, Worthy Recipients
अंत्यःकालो महाराज समाख्यातस्तवाग्रतः । एते कालाः समाख्याताः स्वकर्मफलदायकाः
aṃtyaḥkālo mahārāja samākhyātastavāgrataḥ | ete kālāḥ samākhyātāḥ svakarmaphaladāyakāḥ
Wahai Maharaja, saat terakhir (kehidupan) telah dihuraikan di hadapan tuanku. Masa-masa ini disebut sebagai pemberi buah hasil daripada karma diri sendiri.
Pulastya (to Bhīṣma / the King)
Concept: Antya-kāla reveals the inescapable fruition of one’s own actions; therefore one should live with dharma and remembrance of Hari so the final moment is auspicious.
Application: Keep daily conduct aligned with vows (vrata), charity, and truth; cultivate a steady remembrance practice (nāma-japa, stotra) so the mind naturally turns to Viṣṇu at life’s end.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A sage (Pulastya) sits beneath a sacred fig tree, calmly instructing a crowned king who listens with folded hands. Behind them, a subtle hourglass-like motif and a fading sunset suggest the approach of antya-kāla, while a distant Viṣṇu shrine glows softly, hinting at the refuge beyond karma.","primary_figures":["Pulastya","Bhīṣma (as listener-king figure)","symbolic presence of Viṣṇu (shrine icon)"],"setting":"Forest hermitage court with kusa grass seat, palm-leaf manuscripts, and a distant temple lamp","lighting_mood":"golden dusk","color_palette":["sandalwood beige","deep maroon","smoky indigo","lamp-gold","leaf-green"],"tanjore_prompt":"Tanjore painting style: Pulastya as a serene rishi with white beard and rudrākṣa, seated on a raised wooden āsana, instructing a jeweled king with añjali-mudrā; a small Viṣṇu sanctum in the background with gold-leaf halo and ornate arch, rich reds and greens, gem-studded ornaments, embossed gold detailing on manuscripts and throne, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: intimate hermitage dialogue—Pulastya under a banyan, the king seated respectfully; delicate brushwork, cool twilight gradient, lyrical trees and distant shrine, refined faces with gentle expressions, subtle symbolic hourglass motif in the sky, Himalayan-like layered hills for contemplative depth.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Pulastya and the king in profile with large expressive eyes; a glowing lamp before a small Viṣṇu icon; red/yellow/green palette with patterned borders, temple-wall aesthetic emphasizing calm instruction and moral gravity.","pichwai_prompt":"Pichwai cloth painting style: central medallion showing a small Viṣṇu shrine with lotus motifs; below, Pulastya teaching the king; intricate floral borders, deep blues and gold, stylized trees and lamps, devotional calm with ornamental symmetry."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["soft temple bell","even drone (tanpura)","evening birds","gentle silence between pādas"]}
Sandhi Resolution Notes: अंत्यःकालो → अन्त्यः + कालः; समाख्यातस्तवाग्रतः → समाख्यातः + तव + अग्रतः
FAQs
It refers to the concluding period of life—the time near death—presented as spiritually significant because it culminates in the ripening of one’s accumulated actions (karma).
It states that the various “times” or phases described are “sva-karma-phala-dāyakāḥ”—they deliver the results of one’s own deeds, emphasizing moral causality rather than randomness.
A king is reminded that outcomes—especially at life’s end—are shaped by prior conduct; therefore governance and personal life should be grounded in dharma, knowing actions inevitably bear fruit.