Shloka 15
The Destruction of Dakṣa’s Sacrifice
सर्वयक्षाधिपो देवः पुत्रो विश्रवसो मुनेः । पत्न्या त्विह समायातः सह देव्या धनाधिपः
sarvayakṣādhipo devaḥ putro viśravaso muneḥ | patnyā tviha samāyātaḥ saha devyā dhanādhipaḥ
เทพผู้เป็นจอมแห่งยักษ์ทั้งปวง โอรสแห่งฤๅษีวิศรวัส คือผู้เป็นเจ้าแห่งทรัพย์ ได้เสด็จมาที่นี่พร้อมพระชายา; พระธนาธิปะเสด็จมาพร้อมพระเทวี
Pulastya (to Bhīṣma)
Concept: Prosperity (artha) is sanctified when it arrives in the company of dharma and participates in yajña.
Application: Treat wealth as a trust: align earning and spending with offerings, charity, and service; keep household prosperity ‘with the goddess’—i.e., with virtue and auspicious conduct.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A vast sacrificial arena glows with altar-fires as Kubera, lord of Yakṣas, arrives in regal splendor with his consort, bearing vessels of jewels and grains as offerings. Sages and devas turn toward them, acknowledging that even wealth bows before the rite, while banners and incense stream in the wind.","primary_figures":["Kubera (Dhanādhipa)","Kubera’s consort (Yakṣiṇī/Devi of prosperity)","assembled devas and rishis","yajamāna priests"],"setting":"ancient yajña-śālā with vedi altars, kuśa grass, ladles, soma vessels, and a surrounding ring of sages","lighting_mood":"temple lamp-lit","color_palette":["gold leaf","vermilion red","emerald green","saffron","deep onyx"],"tanjore_prompt":"Tanjore painting style: Kubera seated/arriving at a blazing yajña-vedi, round jeweled belly, ornate crown, heavy gold jewelry, his consort beside him with lotus and treasure-vessel; gold leaf halos, rich reds and greens, gem-studded ornaments, South Indian iconographic symmetry, intricate arch framing the sacrificial fire and priests.","pahari_prompt":"Pahari miniature style: a lyrical yajña clearing with delicate smoke curls, Kubera and consort entering from the side with attendants carrying treasure baskets; cool refined palette with soft greens and muted reds, fine facial features, gentle hills and trees in the background, detailed ritual implements in miniature precision.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Kubera and consort in frontal grandeur near the vedi, stylized flames, priests with ladles, dense ornamental borders; natural pigments with dominant reds/yellows/greens, large expressive eyes, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial arrival scene framed by lotus and floral borders, Kubera and consort offering wealth at a central fire-altar; intricate patterns, deep blues and gold, peacocks and cows at the margins as auspicious witnesses, Nathdwara-inspired decorative density."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","crackling fire","conch shell","murmured mantra","soft cymbals"]}
Sandhi Resolution Notes: सर्वयक्षाधिपो→सर्वयक्षाधिपः; पत्न्या त्विह→पत्न्या तु इह; देवःसमागतः इत्यादि नास्ति अत्र; समायातः (सम्+आ+या) क्त-कृदन्तः।
FAQs
The verse points to Kubera, described as the lord of all Yakṣas and as the son of the sage Viśravas.
It states that he has come to that place together with his wife, and also “with the goddess” (devī), emphasizing an auspicious, divine accompaniment.
It reflects the Purāṇic focus on divine genealogies and the identification of cosmic offices—here, Kubera’s role as dhana-adhipa (lord of wealth) and yakṣādhipa (overlord of Yakṣas).