Shloka 42
The Establishment of Vāmana at Kānyakubja and the Sanctification of Setu
ॠषभो विनतश्चैव गवाख्यो भीमविक्रमः । ॠक्षराजश्च धूम्रश्च सहसैन्यैरुपागताः
ṝṣabho vinataścaiva gavākhyo bhīmavikramaḥ | ṝkṣarājaśca dhūmraśca sahasainyairupāgatāḥ
Ṛṣabha, Vinata, Gavākhya yang menggerunkan keberaniannya; serta Ṛkṣarāja dan Dhūmra—masing-masing tiba bersama ribuan bala tentera.
Narrator (context not specified in the provided excerpt; likely within the Pulastya–Bhīṣma dialogue framework of the Sṛṣṭikhaṇḍa)
Concept: When dharma calls, strength is gathered not for conquest but for protection and righteous purpose.
Application: Bring your ‘inner troops’—discipline, courage, and supportive community—when facing injustice; let power be guided by ethics.
Primary Rasa: vira
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"From the forested ridges, new vānarā battalions pour into the camp like a living river—Ṛṣabha, Vinata, Gavākhya of fearsome prowess, Ṛkṣarāja, and Dhūmra—each surrounded by thousands. Dust rises in sunbeams as standards tilt forward in salute, turning the arrival into a sacred procession of strength offered to Hari.","primary_figures":["Ṛṣabha","Vinata","Gavākhya","Ṛkṣarāja","Dhūmra","Sugrīva (implied)","Rāma (implied as the cause)"],"setting":"Forest edge opening into a broad encampment with watchfires, weapon racks, and a central council space; distant cliffs and a hint of coastline beyond.","lighting_mood":"divine radiance","color_palette":["dusty ochre","sunlit gold","teak brown","leaf green","steel blue"],"tanjore_prompt":"Tanjore painting style: grand arrival of named vānarā commanders with thousands behind them, rendered in tiered rows; gold leaf highlights on armor, mace heads, and banners; rich crimson-green textiles; a luminous Vaishnava emblem (conch-disc-lotus) on a standard to signify Hari’s cause; ornate arch-like framing and floral border.","pahari_prompt":"Pahari miniature style: sweeping diagonal composition of troops descending from wooded hills into a camp; delicate faces, soft shading, and rhythmic repetition of tails and banners; cool atmospheric perspective with pale blue distance; refined naturalism and lyrical movement.","kerala_mural_prompt":"Kerala mural style: narrative panel with bold outlines; commanders in frontal heroic poses, troops as patterned bands; stylized trees and hills; dominant red-yellow-green with black contouring; auspicious symbols (lotus, conch) integrated into borders like temple murals.","pichwai_prompt":"Pichwai cloth painting style: celebratory procession motif—rows of vānarā devotees arriving as if for a Vaishnava utsava; intricate floral borders, lotus medallions, peacocks at corners; deep indigo background with gold detailing; central emblematic banner representing Hari."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["drums","conch shell","footfall rumble","forest birds startled","metallic clink of weapons"]}
Sandhi Resolution Notes: विनतश्चैव = विनतः च एव; गवाख्यो = गवाख्यः; ऋक्षराजश्च = ऋक्षराजः च; धूम्रश्च = धूम्रः च.
FAQs
It lists several named figures—Ṛṣabha, Vinata, Gavākhya, Ṛkṣarāja, and Dhūmra—stating that they arrived together with large armies.
Not directly; it functions as narrative cataloging (a muster/arrival of forces). Any theological reading would depend on the broader episode in Adhyaya 38.
In this verse they appear as proper names within a narrative roster. Their precise identities (lineage, species, or role) require the surrounding verses of Adhyaya 38 for confirmation.