Shloka 60
The Destruction of Dakṣa’s Sacrifice
प्रसादेन च रुद्रस्य प्राप्तस्वर्गः पुरंदरः । यदि रुद्रेस्ति देवत्वं यदि सर्वगतः शिवः
prasādena ca rudrasya prāptasvargaḥ puraṃdaraḥ | yadi rudresti devatvaṃ yadi sarvagataḥ śivaḥ
ด้วยพระกรุณาของรุทระ ปุรันทร (อินทร) จึงบรรลุสวรรค์ หากความเป็นเทวะอยู่ที่รุทระ หากพระศิวะทรงแผ่ซ่านไปทั่วสรรพสิ่ง—จงพิจารณาความจริงนี้เถิด
Unspecified in the provided excerpt (context needed from surrounding verses)
Concept: Claims of divinity are tested by their fruits—grace, protection, and cosmic reach.
Application: Do not accept spiritual claims merely by rhetoric; look for steadiness, humility, and transformative outcomes.
Primary Rasa: adbhuta
Secondary Rasa: raudra
Type: celestial_realm
Visual Art Cues: {"scene_description":"A celestial court opens in Svarga: Indra (Purandara) stands beneath a jeweled canopy, yet the air is tense as a sage-like figure raises a pointed theological challenge about Rudra’s divinity and all-pervasion. In the background, Rudra’s presence is suggested as a vast, subtle silhouette—smoke-blue and ash-white—spreading through the sky like a living mantra.","primary_figures":["Indra (Purandara)","Rudra/Śiva (as an implied cosmic presence)","a tapasvin speaker (unidentified sage/ascetic)","Devas as attendants"],"setting":"Svarga sabhā with kalpavṛkṣas, apsaras at a distance, and a high throne dais; clouds and vimānas beyond.","lighting_mood":"divine radiance with a sharpening, storm-edged tension","color_palette":["sapphire blue","ash white","gold leaf","storm violet","pearl silver"],"tanjore_prompt":"Tanjore painting style: Indra in Svarga seated beneath an ornate arch with gold-leaf halo, gem-studded crown and vajra, while an ascetic points upward in debate; Rudra’s all-pervading form hinted as a vast ash-white aura behind the court; rich reds and emerald greens in textiles, heavy gold embossing on pillars and jewelry, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a lyrical Svarga terrace with cool blues and soft cloud-banks; Indra and courtiers rendered with refined faces; the ascetic’s gesture creates narrative tension; Rudra suggested as a translucent ash-toned wash across the sky; delicate brushwork, floral borders, and distant mountain-like cloud forms.","kerala_mural_prompt":"Kerala mural style: bold black outlines; Indra with large expressive eyes and ornate ornaments; background filled with stylized cloud motifs; Rudra’s pervasion shown as ash-white serpentine aura encircling the scene; red/yellow/green palette with temple-wall texture.","pichwai_prompt":"Pichwai cloth painting style: celestial court framed by lotus and floral borders; deep blue ground with gold highlights; Indra central, attendants arranged symmetrically; Rudra’s presence as a patterned ash-white mandala in the sky; intricate motifs replacing architectural detail, Nathdwara-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","distant thunder","celestial drums (dundubhi)","temple bells"]}
Sandhi Resolution Notes: रुद्रेस्ति = रुद्रे + अस्ति; प्राप्तस्वर्गः = प्राप्त-स्वर्गः (तत्पुरुष); सर्वगतः = सर्व-गतः (तत्पुरुष)
FAQs
It highlights the efficacy of Rudra/Śiva’s grace (prasāda) and frames Śiva as truly divine and all-pervading, using Indra’s attainment of heaven as an example.
Purandara is an epithet of Indra, the king of the devas; the verse states he attained heaven through Rudra’s favor.
It implies Śiva’s omnipresence—Śiva is not limited to a place or form—supporting a high (parama) status for Rudra/Śiva within the text’s theology.