Shloka 2
Adhyaya 0 — Opening Benediction and Invocation of Narayana, Sarasvati, and Vyasa
पायात् स वः सकलकल्मषभेददक्षः क्षीरोदकुक्षिफणिभोगनिविष्टमूर्तिः ।
श्वासावधूतसलिलोत्कणिकाकरालः सिन्धुः प्रनृत्यमिव यस्य करोति सङ्गात् ॥
pāyāt sa vaḥ sakala-kalmaṣa-bheda-dakṣaḥ kṣīrodakukṣi-phaṇibhoga-niviṣṭa-mūrtiḥ |
śvāsāvadhūta-salilोतkaṇikā-karālaḥ sindhuḥ pranṛtyam iva yasya karoti saṅgāt ||
ขอพระองค์ทรงคุ้มครองท่าน—พระผู้ชำนาญในการผ่าและทำลายบาปทั้งปวง ผู้บรรทมเหนือแท่นบรรทมพญาเศษะในมหาสมุทรอันเป็นครรภ์แห่งเกษีรสาคร; ด้วยลมหายใจของพระองค์หยดน้ำกระเซ็นทำให้ทะเลน่าเกรงขาม และด้วยการสัมผัสของพระองค์ทะเลประหนึ่งร่ายรำ
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FAQs
The verse frames the text with the principle that remembrance/praise of the Supreme Protector (here, Nārāyaṇa) purifies moral impurity (kalmaṣa) and grants safeguarding. Ethically, it implies that inner and outer order begins with aligning oneself to dharma through devotion and purity of mind.
As a maṅgalācaraṇa, it is not itself one of the pañcalakṣaṇa topics (sarga, pratisarga, vaṃśa, manvantara, vaṃśānucarita). It functions as a traditional preface establishing auspiciousness and the theological orientation before the Purāṇic narratives unfold.
The Milk-Ocean and serpent-couch imagery encodes cosmic stability: the immeasurable waters (undifferentiated potential) are held in order by the Lord resting on Ananta (endlessness). The ‘ocean dancing’ from His breath suggests that even the vast, chaotic forces of nature move rhythmically under divine presence—breath (prāṇa) as a symbol of sustaining consciousness that animates and regulates the cosmos.