Padma Purana — Bhumi Khanda, Shloka 16
Narada Consoles King Āyu: Prophecy of the Son’s Return and Future Sovereignty
एवमुक्त्वा तु सा देवी विरराम सुदुःखिता । आगमिष्यंतमाज्ञाय नहुषं तनयं पुनः
evamuktvā tu sā devī virarāma suduḥkhitā | āgamiṣyaṃtamājñāya nahuṣaṃ tanayaṃ punaḥ
ਇਉਂ ਕਹਿ ਕੇ ਉਹ ਦੇਵੀ, ਅਤਿ ਦੁਖੀ ਹੋ ਕੇ, ਫਿਰ ਚੁੱਪ ਹੋ ਗਈ। ਕਿਉਂਕਿ ਉਹ ਜਾਣਦੀ ਸੀ ਕਿ ਉਸ ਦਾ ਪੁੱਤਰ ਨਹੁਸ਼ਾ ਮੁੜ ਆਉਣ ਵਾਲਾ ਹੈ।
Narrator (third-person description of the devī)
Concept: Even the divine-hearted endure grief with restraint, trusting the unfolding of karma and dharma.
Application: When anticipating a difficult encounter, pause, speak what is necessary, then return to calm—avoid reactive speech that multiplies suffering.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sorrowful goddess sits in a quiet inner chamber, her gaze fixed toward a doorway where distant footsteps seem imminent. Her ornaments are subdued, her hands resting still, as if she has poured out her last words and now holds silence like a vow. The air is heavy with anticipation—grief tempered by dignity.","primary_figures":["Devī (unnamed goddess/mother figure)","Nāhuṣa (implied, approaching)"],"setting":"Palace interior or hermitage threshold—curtained doorway, lotus-carved pillars, a small lamp, and a faint view of a path outside.","lighting_mood":"temple lamp-lit","color_palette":["smoky indigo","lamp-gold","ash-white","deep maroon","lotus pink"],"tanjore_prompt":"Tanjore painting style: a dignified Devī seated near a carved doorway, eyes moist yet composed, gold leaf halo and border, rich maroon and emerald textiles, gem-studded jewelry rendered subtly, a single brass oil lamp casting warm highlights, faint silhouette of an approaching figure beyond the threshold, ornate South Indian architectural motifs.","pahari_prompt":"Pahari miniature style: an intimate palace chamber with delicate linework, the Devī seated in quiet sorrow, cool indigo shadows and soft lotus-pink accents, a distant path visible through an arched window, refined facial features with restrained emotion, minimal ornamentation emphasizing mood and silence.","kerala_mural_prompt":"Kerala mural style: the Devī with bold black outlines and expressive eyes, seated in a calm yet sorrowful posture, warm yellow and red background with green borders, stylized lamp flame, doorway framing the implied return of Nāhuṣa, temple-wall aesthetic with rhythmic floral patterns.","pichwai_prompt":"Pichwai cloth painting style: devotional interior scene framed by intricate floral borders and lotus motifs, deep blue ground with gold detailing, the Devī seated in stillness near a lamp, peacocks perched quietly on a balcony rail, the threshold suggesting imminent arrival, ornate textile-like patterning throughout."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["soft temple bells","oil-lamp crackle","distant footsteps","night insects","silence"]}
Sandhi Resolution Notes: एवमुक्त्वा = एवम् + उक्त्वा; आगमिष्यंतमाज्ञाय = आगमिष्यन्तम् + आज्ञाय
FAQs
The verse uses a generic narrative epithet—“that lady/goddess”—for the principal female figure in the surrounding episode; the specific identity is determined by the immediate chapter context.
It marks a pause in speech and a shift in scene: the woman stops speaking due to grief, anticipating the imminent arrival/return of Nahuṣa, her son.
The verse highlights maternal anxiety and sorrow, portraying how foreknowledge of an approaching encounter can intensify emotional burden and silence speech.