Shloka 90
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
मरुतो देवगंधर्वा ऋषयश्च तपोधनाः । नागा यक्षाः पिशाचाश्च राक्षसा भीमविक्रमाः
maruto devagaṃdharvā ṛṣayaśca tapodhanāḥ | nāgā yakṣāḥ piśācāśca rākṣasā bhīmavikramāḥ
మరుతులు, దివ్య గంధర్వులు, తపోధనులైన ఋషులు; అలాగే నాగులు, యక్షులు, పిశాచులు మరియు భీమవిక్రమ రాక్షసులు కూడా (అందులో) ఉన్నారు.
Not specified in the provided excerpt (context needed from surrounding verses of Adhyaya 45).
Concept: All categories of beings—divine, semi-divine, sage, and terrifying—are encompassed by the Supreme; refuge in Him transcends fear of any class of entity.
Application: Do not be overwhelmed by ‘forces’—social, psychological, or unseen; cultivate refuge in the divine and disciplined living (tapas, satya) like the ṛṣis.
Primary Rasa: adbhuta
Secondary Rasa: bhayanaka
Type: celestial_realm
Visual Art Cues: {"scene_description":"A sweeping cosmic panorama: within the divine form surge hosts of Maruts like wind-made warriors, Gandharvas with lutes, and austere ṛṣis seated in inner radiance. Below and around coil jeweled Nāgas, shadowy Yakṣas, and eerie Piśācas, while towering Rākṣasas stand subdued—each rendered as a distinct realm contained within one luminous body.","primary_figures":["Narasimha/Viśvarūpa","Maruts","Gandharvas","Ṛṣis (tapodhana)","Nāgas","Yakṣas","Piśācas","Rākṣasas"],"setting":"Cosmic interior with layered ‘realms’—upper airy bands for Maruts, mid celestial court for Gandharvas/ṛṣis, lower shadowed strata for nāgas and liminal beings.","lighting_mood":"layered radiance fading into underworld shadow","color_palette":["storm-cloud gray","peacock green","antique gold","smoldering red","deep indigo"],"tanjore_prompt":"Tanjore painting style: central viśvarūpa with gold leaf aura; upper register filled with Maruts in dynamic poses, mid register with Gandharvas and seated ṛṣis, lower register with coiled Nāgas and darker yakṣa/piśāca figures; rich reds/greens, embossed jewelry, ornate borders and arches.","pahari_prompt":"Pahari miniature style: multi-tiered composition with delicate figures—Maruts as airy silhouettes, Gandharvas with fine instruments, ṛṣis with calm faces; lower strata painted in deeper tones with nāga coils and subdued rākṣasas; refined linework and lyrical spatial layering.","kerala_mural_prompt":"Kerala mural style: bold outlines and iconic eyes; strong color blocks—bright upper realm, darker lower realm; stylized nāga coils and rākṣasa forms; temple mural symmetry with the divine figure dominating, natural pigment reds/yellows/greens.","pichwai_prompt":"Pichwai cloth painting style: patterned registers filled with repeating motifs—wind-swirl Maruts, floral-instrument Gandharvas, lotus-seated ṛṣis; ornate border; deep blue ground with gold highlights; nāga coils rendered as decorative arabesques, rākṣasas stylized and contained."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["gusting wind","mridanga strokes","stringed drone (veena-like)","distant roar","temple bells"]}
Sandhi Resolution Notes: ऋषयः + च → ऋषयश्च. पिशाचाः + च → पिशाचाश्च.
FAQs
It functions as a cosmological catalogue, presenting multiple orders of divine, semi-divine, and fearsome beings as part of the populated universe described in the Sṛṣṭikhaṇḍa.
It means “those whose wealth is tapas,” emphasizing that their true treasure is spiritual discipline and ascetic power rather than material possession.
Not directly; it is primarily descriptive (a listing of beings). Any sectarian or devotional emphasis would depend on the surrounding narrative context in Adhyaya 45.