Shloka 124
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
इत्येवं क्षुभिताः सप्त मरुतो गगनेचराः । ये ग्रहास्सर्वलोकस्य क्षये प्रादुर्भवंति हि
ityevaṃ kṣubhitāḥ sapta maruto gaganecarāḥ | ye grahāssarvalokasya kṣaye prādurbhavaṃti hi
ดังนี้ มรุตทั้งเจ็ดผู้ปั่นป่วน ผู้ท่องไปในนภา—มรุตเหล่านั้นเองคือ ‘ครหะ’ ผู้ฉวยจับ—ย่อมปรากฏในกาลแห่งความพินาศของโลกทั้งปวง.
Unspecified narrator (context not provided in the excerpt)
Concept: All worlds are impermanent; forces that ‘seize’ and dissolve arise in time—therefore seek the imperishable refuge beyond the worlds.
Application: Contemplate impermanence to reduce attachment; invest daily in practices that outlast change—nama-japa, seva, ethical living.
Primary Rasa: bhayanaka
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"Seven agitated Maruts streak across the sky like living currents, their bodies formed of cloud, lightning, and wind, circling in a tightening spiral. Below them, the worlds appear fragile—tiny continents and cities under a dark canopy—while the Maruts’ ‘seizing’ presence suggests the onset of universal dissolution.","primary_figures":["Seven Maruts (as sky-moving forces)"],"setting":"Cosmic panorama—upper atmosphere blending into a mythic view of the worlds beneath","lighting_mood":"divine radiance pierced by darkness","color_palette":["deep indigo","ashen white","lightning gold","storm green","obsidian black"],"tanjore_prompt":"Tanjore painting style: seven maruts arranged in a circular, mandala-like storm formation with gold-leaf lightning; miniature worlds below in concentric bands; ornate border motifs of clouds and flames; high-relief gold to emphasize the ‘graha’ seizing energy.","pahari_prompt":"Pahari miniature style: airy, translucent maruts with delicate brushwork; a sweeping sky gradient from dusk to night; tiny earth-scapes below; lyrical composition with a subtle sense of dread, refined faces and flowing scarves.","kerala_mural_prompt":"Kerala mural style: stylized maruts with bold outlines, swirling cloud bodies, and rhythmic lightning motifs; flat indigo background; narrative band below showing the worlds in simplified iconography; temple-wall gravitas.","pichwai_prompt":"Pichwai cloth painting style: storm-mandala of seven maruts around a central dark disc; intricate border of cloud-scrolls and flame motifs; gold highlights for lightning; symmetrical devotional textile layout repurposed to depict pralaya-omens."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairav","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["deep drone (tanpura)","distant thunder","wind roar softened","conch shell (single long)","vast silence"]}
Sandhi Resolution Notes: ityevaṃ = iti + evaṃ; grahāssarvalokasya = grahāḥ + sarvalokasya; prādurbhavaṃti → prādurbhavanti (anusvāra/orthographic variant).
FAQs
Here “graha” primarily carries its older sense of “seizer/grasper,” indicating forces that ‘take hold’ or afflict; it can also overlap with the later astrological sense of planetary powers.
The verse frames the seven Maruts as turbulent sky-moving powers that become prominent at world-destruction, functioning as disruptive cosmic forces associated with the end-phase of a cycle.
It suggests that cosmic endings are marked by intensification and upheaval in elemental forces; dissolution is portrayed not as calm absence but as a dynamic unbinding of order.