Shloka 56
The Destruction of Dakṣa’s Sacrifice
तदयं जगतामीशः सर्वेषामुत्तमोत्तमः । स्थानान्येतानि सर्वेषां दत्तान्येतेन धीमता
tadayaṃ jagatāmīśaḥ sarveṣāmuttamottamaḥ | sthānānyetāni sarveṣāṃ dattānyetena dhīmatā
Dialah sesungguhnya Tuhan segala alam, Yang paling utama antara semuanya. Oleh Yang Maha Bijaksana itu, tempat kediaman dan kedudukan ini telah diperuntukkan bagi sekalian makhluk.
Unspecified narrator (context-dependent within Sṛṣṭi-khaṇḍa narration)
Concept: The Lord of the worlds, supreme among all, wisely assigns stations and abodes to beings—cosmic hierarchy is purposeful, not random.
Application: Accept one’s current station as a divinely governed field for dharma; strive upward through merit and devotion rather than envy.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A vast cosmic court where the Supreme Lord presides above concentric worlds, each realm depicted as a luminous ring with its own beings and guardians. From the Lord’s hand emanate scroll-like rays assigning ‘sthānas’—some rising to celestial cities, others to earthly villages—showing wise distribution rather than favoritism.","primary_figures":["Vishnu/Nārāyaṇa (as Jagadīśa)","Brahmā (witness)","devas and lokapālas (symbolic)"],"setting":"Celestial mandala of lokas with layered skies and floating palaces","lighting_mood":"divine radiance","color_palette":["sapphire blue","radiant gold","pearl white","vermillion","smoky violet"],"tanjore_prompt":"Tanjore painting style: Nārāyaṇa enthroned on a jeweled seat with śaṅkha-cakra-gadā-padma, surrounded by concentric loka-rings rendered as ornate medallions; thick gold leaf radiance, ruby and emerald ornamentation, symmetrical lokapāla figures at cardinal points, temple-arch framing and embossed halos.","pahari_prompt":"Pahari miniature style: a refined cosmic diagram as a lyrical landscape—floating palaces, delicate clouds, and tiny figures in different realms; Viṣṇu above as a calm blue presence distributing luminous threads to each abode; cool blues and mauves, fine brushwork, gentle gradients and poetic spacing.","kerala_mural_prompt":"Kerala mural style: central blue Viṣṇu with bold outlines, surrounded by circular bands of worlds; lokapālas at directions, stylized palaces and cloud motifs; natural pigments with dominant reds/yellows/greens, rhythmic border patterns and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: a mandala-like composition with lotus borders and central Viṣṇu symbols; rings of worlds filled with miniature devotees, devas, and animals; intricate floral filigree, deep indigo ground, gold highlights, symmetrical sacred geometry reminiscent of Nathdwara ornamentation."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (soft)","temple bells","tanpura drone"]}
Sandhi Resolution Notes: tad + ayaṃ → tadayaṃ; jagatām + īśaḥ → jagatāmīśaḥ; sarveṣām + uttamottamaḥ → sarveṣāmuttamottamaḥ; sthānāni + etāni → sthānānyetāni; dattāni + etena → dattānyetena; dhīmatā instrumental agrees with etena (agent in passive sense).
FAQs
It presents a supreme Lord as the organizer of creation, who assigns appropriate stations or abodes to beings, implying an ordered cosmos governed by divine intelligence.
The verse uses a generic epithet without naming a deity here; in many Padma Purāṇa contexts this title aligns with the supreme divine ruler (often understood in a Vaiṣṇava frame as Viṣṇu/Nārāyaṇa), but the immediate identification depends on surrounding verses.
It encourages acceptance of rightful duties and circumstances as part of a larger divine order, while valuing wisdom and righteousness as the guiding principles behind proper distribution and harmony.