Shloka 174
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
ब्रह्मरुद्रेन्द्रमुनयो गर्भजन्मजरार्दिताः । तस्य ते परमेशस्य सर्वे क्रीडनका गिरे
brahmarudrendramunayo garbhajanmajarārditāḥ | tasya te parameśasya sarve krīḍanakā gire
Brahmā, Rudra, Indra dan para muni—yang ditimpa derita kandungan, kelahiran dan usia tua—wahai gunung, semuanya hanyalah mainan dalam lila Sang Parameśvara itu.
Unclear from single-verse context (likely within a narrator-to-addressee dialogue in Sṛṣṭikhaṇḍa; addressee appears to be a mountain: 'gire').
Concept: All conditioned beings—even Brahmā, Rudra, Indra, and sages—are subject to birth and aging; relative greatness is still within the Supreme’s play.
Application: Practice humility: status, power, and learning are temporary; orient life toward devotion and service rather than comparison.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: mountain
Visual Art Cues: {"scene_description":"A grand cosmic tableau shows Brahmā, Rudra, Indra, and a circle of sages as small figures on a vast stage, their crowns and ascetic matted hair rendered with detail yet dwarfed by an immense, unseen Presence suggested by a towering aura and a cosmic hand. The mountain-addressee stands at the edge like a silent witness, as if the universe itself is a toy in the Supreme’s effortless play.","primary_figures":["Brahmā","Rudra","Indra","Sages (munis)","Mahāgiri/Himavat (witness)","the Supreme Lord (suggested via aura/hand rather than fully anthropomorphized, optional)"],"setting":"a cosmic amphitheater blending celestial sky, starfields, and a symbolic stage of creation","lighting_mood":"moonlit","color_palette":["cosmic black","silver","royal blue","vermillion","antique gold"],"tanjore_prompt":"Tanjore painting style: hierarchical composition with Brahma/Rudra/Indra and sages arranged below, the Supreme indicated by a massive gold leaf aura and ornate arch above, embossed gold borders, rich reds/greens, jewel-like highlights, traditional iconographic symmetry.","pahari_prompt":"Pahari miniature style: delicate figures of devas and sages in a vast night sky, subtle gradients, refined faces, the Supreme suggested by an expansive luminous wash and a faint cosmic hand, cool palette with fine linework and lyrical spacing.","kerala_mural_prompt":"Kerala mural style: bold outlined devas and sages with stylized ornaments, the Supreme represented by a large radiant mandala occupying the upper field, strong reds/yellows/greens, temple-wall layout with decorative bands and rhythmic repetition.","pichwai_prompt":"Pichwai cloth painting style: symmetrical arrangement of devas and sages within a circular mandala, lotus borders and floral filigree, deep blue ground with gold detailing, the Supreme suggested by a central radiance, textile-like intricacy and devotional framing."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["deep drone (tanpura)","single bell strokes","soft wind","expansive silence"]}
Sandhi Resolution Notes: ब्रह्मरुद्रेन्द्रमुनयो = ब्रह्मरुद्रेन्द्रमुनयः (visarga-lopa in pada); गर्भजन्मजरार्दिताः = गर्भजन्मजरा + अर्दिताः (दीर्घ/आ-सन्धि)
FAQs
It asserts the supremacy of Parameśa (the Supreme Lord): even high deities like Brahmā, Rudra, Indra, and the sages remain subject to embodied conditions (birth and aging) and are ultimately under the Lord’s power.
These are markers of conditioned existence (saṃsāra). The verse uses them to emphasize that even exalted beings are not absolutely independent and remain within cosmic limitation unless identified with the Supreme.
‘Gire’ is a vocative addressing a mountain (likely a named mountain in the surrounding passage). It implies the verse occurs within a direct speech to that addressee, but the exact identity requires adjacent verses for confirmation.