Shloka 71
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
एतास्सहस्रशश्चान्या नृत्यगीतविशारदाः । उपातिष्ठंत राजानं हिरण्यकशिपुं प्रभुम्
etāssahasraśaścānyā nṛtyagītaviśāradāḥ | upātiṣṭhaṃta rājānaṃ hiraṇyakaśipuṃ prabhum
Dan ribuan wanita lain, mahir dalam tarian dan nyanyian, hadir menghadap serta berkhidmat kepada raja—Hiraṇyakaśipu, sang tuan.
Narrator (contextual description within the Adhyaya; specific dialogue speaker not explicit in this single verse).
Concept: Worldly splendor and sensory mastery can surround power, yet remain spiritually hollow without devotion to Vishnu.
Application: Enjoy arts without becoming possessed by them; keep worship and humility central even amid success.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"Inside an asura king’s jeweled audience hall, thousands of accomplished dancers and singers form concentric circles around a towering throne. Hiraṇyakaśipu sits rigid with pride as anklets chime and veenas shimmer, the arts serving power rather than love of the divine.","primary_figures":["Hiraṇyakaśipu","asura courtiers","apsara-like dancers","court musicians"],"setting":"vast asura palace sabhā with carved pillars, gem-inlaid floor, banners, incense braziers, throne dais","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","deep garnet red","obsidian black","emerald green","ivory white"],"tanjore_prompt":"Tanjore painting style: Hiraṇyakaśipu enthroned in a gem-studded sabhā, surrounded by rows of dancers with expressive mudrās and musicians holding vīṇā and mṛdaṅga; heavy gold leaf on throne, crown, and pillars; rich reds and greens, ornate jewelry, symmetrical composition, traditional South Indian iconography with embossed halos and decorative borders.","pahari_prompt":"Pahari miniature style: an opulent demon court rendered with delicate brushwork—slender dancers in flowing garments, musicians seated on patterned carpets, and the king on a raised throne; cool yet saturated palette with lyrical detailing of textiles, refined faces, and architectural arches; subtle shading and fine linework, intimate courtly atmosphere.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments depict Hiraṇyakaśipu with exaggerated regal posture, large stylized eyes, and layered ornaments; dancers in rhythmic poses around him; palace pillars and lamps simplified into iconic forms; dominant red/yellow/green palette with decorative floral borders like a temple wall painting.","pichwai_prompt":"Pichwai cloth painting style: a grand court scene framed by intricate floral borders and lotus motifs, with rhythmic rows of dancers and musicians; deep blues and gold accents; stylized architecture and patterned textiles; though non-Krishna-centered, rendered in Nathdwara-like ornamentation with dense detailing and symmetrical layout."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["anklet bells","veena drones","mridanga rhythm","incense crackle","murmuring court"]}
Sandhi Resolution Notes: एतास्सहस्रशश्चान्या = एताः + सहस्रशः + च + अन्याः; उपातिष्ठंत = उपातिष्ठन्त (final nasal assimilation in Devanagari orthography)
FAQs
It depicts the royal court of Hiraṇyakaśipu, where numerous attendants—particularly women skilled in music and dance—stand ready in service to the king.
Not directly; it functions mainly as narrative description, emphasizing worldly splendor and the king’s power, which later contrasts with spiritual themes elsewhere in the Purāṇa.
The compound “nṛtyagīta-viśāradāḥ” highlights specialized expertise (dance and song), while “upātiṣṭhanta” conveys the sense of standing by in attendance/service to a ruler.