Shloka 182
Cosmic Time, Cycles of Creation and Dissolution, and the Varāha Uplift of Earth
प्रसूत्यां च तथा दक्षश्चतस्रो विंशतिं तथा । ससर्ज कन्यास्तासां तु सम्यङ्नामानि मे शृणु
prasūtyāṃ ca tathā dakṣaścatasro viṃśatiṃ tathā | sasarja kanyāstāsāṃ tu samyaṅnāmāni me śṛṇu
అలాగే ప్రసూతి ద్వారా దక్షుడు ఇరవై నాలుగు కుమార్తెలను సృష్టించాడు. ఇప్పుడు వారి పేర్లను సరైన క్రమంలో నన్ను నుండి వినుము.
Unspecified narrator (speaker not identifiable from the single verse alone)
Concept: Creation is articulated through categories and names; knowing the lineage is a way of knowing dharma’s architecture in the cosmos.
Application: Value clarity and right sequencing—whether in study, ritual, or life planning; naming and ordering reduce confusion and support steadiness.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Dakṣa and Prasūti are shown as archetypal progenitors seated beside a sacred fire, while twenty-four luminous daughter-figures appear as a garland-like procession emerging symbolically from a lotus-vine behind Prasūti. The narrator’s ‘hear their names’ is visualized as floating calligraphic Sanskrit syllables forming a halo of ordered knowledge around the scene.","primary_figures":["Dakṣa","Prasūti","Twenty-four daughters (symbolic procession)","Narrator-sage (optional, as a reciter figure)"],"setting":"Hermitage-altar with lotus vines, palm-leaf manuscripts, and a calm cosmic garden backdrop.","lighting_mood":"forest dappled","color_palette":["leaf green","warm ochre","lotus rose","parchment beige","deep teal"],"tanjore_prompt":"Tanjore painting style: Dakṣa and Prasūti enthroned near a homa-kunda; twenty-four daughter-figures arranged in a decorative arc like a garland; gold leaf halos and ornate borders; rich reds and greens, gem-studded ornaments; Sanskrit name-syllables stylized in gold around the composition.","pahari_prompt":"Pahari miniature style: gentle garden-hermitage scene with delicate foliage and soft shadows; daughters depicted as graceful figures in a flowing procession; fine calligraphic touches suggesting names; cool, lyrical palette and refined facial features.","kerala_mural_prompt":"Kerala mural style: strong outlines, patterned lotus-vines, and a rhythmic row of daughter-figures; Dakṣa and Prasūti central; warm red-yellow-green pigments with decorative manuscript-like borders.","pichwai_prompt":"Pichwai cloth painting style: floral border-heavy composition where twenty-four daughters appear as lotus blossoms personified; deep blue/teal ground with gold highlights; stylized Sanskrit syllables integrated into the border motifs; peacocks and vines framing the genealogical theme."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["page-turn (palm-leaf)","soft bell","forest birds","tanpura drone"]}
Sandhi Resolution Notes: Resolved sandhi: dakṣaścatasro → दक्षः + चतस्रः; kanyāstāsāṃ → कन्याः + तासाम्; samyaṅnāmāni → सम्यक् + नामानि (final k → ṅ before n).
FAQs
It introduces a genealogical list: Dakṣa, together with Prasūti, produces twenty-four daughters, and the text prepares to enumerate their names.
Purāṇic genealogies are often structured as authoritative lineages; stating “in proper order” signals a careful, traditional sequencing of names and relationships.
It highlights the Purāṇic theme of cosmic order (dharma) expressed through orderly creation and lineage—suggesting that harmony in the world is sustained by structured relationships and responsibilities.