Shloka 5
The Crushing of the Traipuras
Gaṇeśa’s Battle with Tripura’s Son
अवधीत्तं शरैकेन पितरं ते बलेन च । पंकात्प्रतारितो मोहात्प्रेषितो यममंदिरं
avadhīttaṃ śaraikena pitaraṃ te balena ca | paṃkātpratārito mohātpreṣito yamamaṃdiraṃ
Dengan sebatang anak panah sahaja dia membunuh ayahmu, dan dengan kekuatan semata-mata; lalu, kerana diliputi khayal, dia diseret keluar dari lumpur dan dihantar ke kediaman Yama.
Unspecified (context-dependent within Adhyaya 74; likely a narrator in a dialogue frame such as Pulastya addressing Bhīṣma)
Concept: Moha (delusion) and adharmic violence culminate in inevitable karmic judgment.
Application: Avoid acting from delusion and pride; pause before harm, seek counsel, and choose dharmic restraint to prevent irreversible consequences.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Type: celestial_realm
Visual Art Cues: {"scene_description":"A grim battlefield pauses as a fallen father lies struck by a single arrow, while a shadowy force drags a deluded figure from a sucking mire. In the distance, the gates of Yama’s dark citadel loom, attended by stern messengers, suggesting inexorable judgment.","primary_figures":["Fallen father (pitṛ)","Unseen archer (heroic/daivic figure)","Dragged warrior (deluded)","Yama’s attendants (Yamadūtas)"],"setting":"War-torn plain merging into a swampy mire that opens toward a distant infernal-celestial court.","lighting_mood":"storm-lit, ominous twilight with harsh highlights","color_palette":["iron black","blood crimson","ash gray","smoky violet","cold bronze"],"tanjore_prompt":"Tanjore painting style: a dramatic battlefield tableau with a central fallen warrior and a mire at the foreground, Yamadūtas pulling a deluded figure toward a distant Yamamaṇḍira; heavy gold leaf used sparingly as harsh glints on weapons and ornaments, rich maroons and deep greens, stylized South Indian iconographic faces, embossed halos for divine/daivic presence, ornate border with lotus medallions turned somber.","pahari_prompt":"Pahari miniature style: lyrical yet tense scene of a slain father and a figure being hauled from a dark marsh, distant fortress-like Yamamaṇḍira under brooding clouds; delicate brushwork, cool slate and indigo washes, refined profiles, sparse red accents for blood and banners, thin gold linework for weapon edges.","kerala_mural_prompt":"Kerala mural style: bold black outlines and earthy pigments showing the mire, the dragged figure, and stern Yamadūtas; large expressive eyes, red-ochre skin tones, yellow and green fields turned dark, flame-like motifs around the path to Yama’s abode, temple-wall compositional symmetry.","pichwai_prompt":"Pichwai cloth painting style: an unusual ‘dark pichwai’ composition—lotus borders subdued, central battlefield vignette framed by floral motifs; deep midnight blues and maroons, intricate arrow patterns like rain, distant architectural silhouette of Yamamaṇḍira, ornamental detailing on attendants, minimal cows/peacocks replaced by symbolic lotuses wilting to convey karmic fall."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant thunder","war drums fading","conch shell low call","heavy silence after impact"]}
Sandhi Resolution Notes: अवधीत्तं = अवधीत् तम्; पंकात्प्रतारितो = पङ्कात् प्रतारितः; मोहात्प्रेषितो = मोहात् प्रेषितः.
FAQs
It denotes the realm of Yama, the lord of death and judgment, implying the soul’s transition to post-mortem consequence and moral accounting.
The verse underscores that violence and delusion lead to ruin: even if one acts with power, wrongful action and confusion culminate in punishment and death’s domain.
Not explicitly; it is primarily a karmic-ethical statement about wrongdoing and its consequences, though such warnings often function as a backdrop for later praise of dharma and devotion in Purāṇic discourse.