Shloka 167
Slaying of Andhaka; Hymn to the Sun; Glory of Brahmins; Gayatri Nyasa and Pranayama
मारुतं पंचदशकं सौम्यं षोडशकं स्मृतं । आंगिरसं सप्तदशं वैश्वदेवमतः परं
mārutaṃ paṃcadaśakaṃ saumyaṃ ṣoḍaśakaṃ smṛtaṃ | āṃgirasaṃ saptadaśaṃ vaiśvadevamataḥ paraṃ
పదిహేనవది మారుతము (మరుత్లది) అని స్మరించబడింది; పదహారవది సౌమ్యము (సోమునది) అని ప్రసిద్ధం. పదిహేడు ఆంగిరసము; వీటి తరువాత వైశ్వదేవము (సర్వదేవమయం) వస్తుంది.
Unspecified (context-dependent within Adhyaya 46 narration)
Concept: Universal harmony arises when diverse forces—prāṇa (wind), soma (cool mind), agni-priestly lineage, and collective divinity—are integrated as one offering.
Application: Balance breath (prāṇāyāma), cool the mind (soma-like steadiness), honor teachers/lineage, and practice gratitude offerings (food sharing/vaishvadeva) daily.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: celestial_realm
Visual Art Cues: {"scene_description":"A cosmic yajña unfolds in the sky: the Maruts whirl as luminous wind-spirits around a central altar, Soma appears as a cool moon-deity pouring silver nectar, an Āṅgirasa rishi-priest tends a flame that rises like a lotus, and above all, the Viśve Devāḥ appear as a single radiant crown of many faces. The offering smoke becomes a spiral of Sanskrit syllables ascending into the infinite.","primary_figures":["Maruts (Māruta)","Soma (Saumya)","Āṅgirasa rishi/priest","Viśve Devāḥ (Vaiśvadeva collective)"],"setting":"Celestial altar-platform amid clouds, with a moonlit canopy and wind-circles forming a mandala.","lighting_mood":"moonlit","color_palette":["silver moonlight","smoky violet","flame orange","wind-white","midnight blue"],"tanjore_prompt":"Tanjore painting style: celestial yajña scene with gold leaf flames and halos; Maruts as dynamic attendants, Soma as a cool silver-blue deity, Angirasa priest with ritual implements, and a radiant Viśve Devāḥ crown above; rich vermilion/emerald accents, ornate arch, heavy gold leaf and jewel-like highlights.","pahari_prompt":"Pahari miniature style: lyrical moonlit yajña on a cloud terrace; delicate Marut motion lines, Soma pouring nectar, Angirasa priest in saffron, and a subtle many-faced radiance for Viśve Devāḥ; cool palette, fine brushwork, gentle smoke-calligraphy of aksharas.","kerala_mural_prompt":"Kerala mural style: bold outlines; stylized altar flame, Maruts in rhythmic poses, Soma with large expressive eyes, Angirasa priest with ladle; Viśve Devāḥ represented as a single aureole with multiple small faces; red/yellow/green with deep blue background and decorative borders.","pichwai_prompt":"Pichwai cloth painting style: circular mandala around a central yajña-kunda; lotus motifs, repeating wind-swirl patterns for Maruts, silver-dot moon motifs for Soma, intricate floral border; deep blue ground with gold detailing, stylized akshara-smoke as decorative pattern."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["crackling sacred fire","tanpura drone","soft wind swirl","distant bell chimes","brief silences between phrases"]}
Sandhi Resolution Notes: No major external sandhi; pāda break after स्मृतम्. ‘वैश्वदेवम् अतः परम्’ kept as separate words.
FAQs
It is primarily enumerative: it names successive groups (15th, 16th, 17th) and then indicates the next category, Vaiśvadeva, continuing a larger structured list in the chapter.
Here they function as labels for classes/groups within a numbered sequence. In Purāṇic usage, such names often correspond to deity-linked or sage-linked categories, but the precise referent depends on the surrounding verses of Adhyaya 46.
No direct ethical injunction is stated in this line; its purpose is organizational—preserving traditional knowledge through ordered classification.