Shloka 108
Mārkaṇḍeya’s Birth and Boon; Puṣkara’s Glory; Rāma’s Śrāddha; Refuge-Hymn to Śiva
व्यक्तं त्रिविष्टपं प्राप्तस्त्वया पुत्रेण तारितः । दृष्ट्वा मां दुःखितां बालां वने क्लिष्टामनागसम्
vyaktaṃ triviṣṭapaṃ prāptastvayā putreṇa tāritaḥ | dṛṣṭvā māṃ duḥkhitāṃ bālāṃ vane kliṣṭāmanāgasam
నిశ్చయంగా నేను ప్రత్యక్ష త్రివిష్టపం (స్వర్గం) పొందితిని; నీవు—నా కుమారుడవు—నన్ను తరింపజేసితివి. అయినా నన్ను దుఃఖిత బాలికగా, అరణ్యంలో క్లిష్టపడుచు, నిర్దోషిణిగా చూచితివి.
Uncertain from single-verse context (appears to be a mother addressing her son)
Concept: Even the innocent may suffer in the world; true deliverance is measured not only by heavenly attainment but by compassionate recognition and protection of the blameless.
Application: Do not dismiss another’s pain as deserved; actively protect the vulnerable and the faultless, especially when they are isolated or socially unseen.
Primary Rasa: karuna
Secondary Rasa: adbhuta
Type: forest
Visual Art Cues: {"scene_description":"A sorrowful young mother, dust-streaked and weary, stands amid a dense forest clearing, her eyes lifted in a mixture of gratitude and reproach. In the distance, a luminous suggestion of Triviṣṭapa—faint celestial lotuses and a pale golden aura—contrasts with thorny undergrowth and fallen leaves, emphasizing the paradox of salvation alongside abandonment.","primary_figures":["a grieving mother figure","a son (rescuer)","subtle celestial presences (gandharvas/apsarās as distant silhouettes)"],"setting":"forest clearing with tangled vines, a small hermitage-like edge, and a far-off hint of heaven in the sky","lighting_mood":"forest dappled","color_palette":["deep forest green","earth brown","ash gray","pale gold","lotus pink"],"tanjore_prompt":"Tanjore painting style: a forest scene framed like a shrine panel, the mother figure in the foreground with expressive eyes and ornate jewelry dulled by hardship; the son slightly elevated, haloed; distant Triviṣṭapa rendered as a gold-leaf celestial band with embossed lotus motifs, rich reds and greens, gem-studded ornaments, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: delicate brushwork showing a quiet forest glade, slender trees and fine leaves; the mother’s sorrow conveyed through refined facial features and downcast eyes; a soft Himalayan-like horizon with a faint celestial glow, cool greens and muted gold, lyrical naturalism and intimate emotion.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; the mother in warm ochres and reds, the son in green-blue tones; stylized forest patterns; a simplified golden Triviṣṭapa aura above, temple-wall aesthetic with large expressive eyes and rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: a devotional forest tableau with lotus borders; celestial lotuses and peacocks in the margins; the mother’s lament centered, with a distant golden heaven band; intricate floral vines, deep blues and gold accents, Nathdwara-inspired decorative framing."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["rustling leaves","distant birds","soft temple bell","long pauses","wind through trees"]}
Sandhi Resolution Notes: प्राप्तस्त्वया = प्राप्तः + त्वया; क्लिष्टामनागसम् = क्लिष्टाम् + अनागसम्; (अनागसम् agrees with बाला/माम—intended feminine accusative; transmitted form shows sandhi/orthographic variation).
FAQs
Triviṣṭapa is a classical Sanskrit name for Svarga—heaven or the realm of the gods—here used to indicate a lofty, divine attainment.
The speaker acknowledges being “saved” by her son, yet highlights the moral pain that she—innocent and vulnerable—was seen suffering in the forest, implying a delayed or incomplete protection.
Anāgasam (“without fault”) emphasizes the speaker’s innocence, framing her suffering as undeserved and intensifying the appeal to duty, compassion, and righteous protection.