Shloka 70
Expansion of Creation through Dakṣa and Kaśyapa: Devas, Dānavas, Nāgas, Birds, and Cosmic Offices
प्रधानास्तेषु विख्याता ष्षड्विंशतिररिन्दम । शेषवासुकिकर्कोट शंखैरावतकंबलाः
pradhānāsteṣu vikhyātā ṣṣaḍviṃśatirarindama | śeṣavāsukikarkoṭa śaṃkhairāvatakaṃbalāḥ
ในหมู่พวกเขา โอ้ผู้ปราบศัตรู มีนาคมหาอสรพิษผู้เป็นใหญ่ยี่สิบหกตนเลื่องชื่อ—เศษะ วาสุกี กรรโกฏะ ศังขะ ไอราวตะ และกัมพละ
Not explicitly specified in the provided excerpt (context-dependent narration in Sṛṣṭikhaṇḍa).
Concept: Hierarchy and function exist even among non-human beings; ‘chiefs’ indicate cosmic roles and responsibilities.
Application: Recognize that strength is meant for service and stability; leadership implies responsibility within a larger purpose.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: celestial_realm
Visual Art Cues: {"scene_description":"A grand assembly of nāga kings in Nāga-loka: jeweled hoods flared like crowns, each serpent-chief distinguished by color and emblem. At the center, Śeṣa rises with countless hoods forming a canopy, hinting at his destiny as the couch and support of Nārāyaṇa.","primary_figures":["Śeṣa (Ananta)","Vāsuki","Karkoṭa","Śaṅkha","Airāvata (nāga)","Kambala"],"setting":"subterranean jeweled palace with crystal pillars, luminous gems, and coiled serpent-thrones","lighting_mood":"moonlit","color_palette":["obsidian black","jade green","ruby red","silver","amber gold"],"tanjore_prompt":"Tanjore painting style: central Ananta-Śeṣa with multiple gem-studded hoods forming a prabhāvali-like canopy; surrounding nāga chiefs in symmetrical rows, heavy gold leaf on ornaments and palace arches, rich reds/greens, embossed jewelry details, iconic frontal composition.","pahari_prompt":"Pahari miniature style: elegant nāga chiefs with delicate hood patterns, cool nocturnal palette; jeweled cavern rendered with fine stippling, reflective pools, soft gradients; refined faces for anthropomorphic nāga forms, lyrical composition.","kerala_mural_prompt":"Kerala mural style: stylized nāga kings with bold outlines and patterned scales; palace wall aesthetic with rhythmic repetition of hoods; strong reds/yellows/greens, dramatic eyes, ornamental borders like temple murals.","pichwai_prompt":"Pichwai cloth painting style: Ananta’s hoods arranged like a floral mandala; intricate borders of lotus and serpent-scale motifs; deep indigo ground with gold highlights, symmetrical devotional geometry, peacocks and lotuses framing the nāga court."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["deep mridangam pulse","low conch","echoing cavern ambience","soft metallic chimes"]}
Sandhi Resolution Notes: प्रधानास्तेषु = प्रधानाः + तेषु (visarga sandhi). ष्षड्विंशतिररिन्दम = षड्विंशतिः + अरिन्दम (visarga to r before vowel). द्वितीयपादे नामानि समाहाररूपेण सूचीकरणम्; पाठे ‘शेषवासुकिकर्कोट’ इत्यत्र संधिविच्छेदः शेष + वासुकि + कर्कोट (नामसमुच्चयः, न समासार्थः)।
FAQs
The verse names prominent serpent-beings (nāgas): Śeṣa, Vāsuki, Karkoṭa, Śaṅkha, Airāvata, and Kambala, presented as well-known leaders among a larger group.
“Ṣaḍviṃśatiḥ” means twenty-six, indicating that there are twenty-six chief or most renowned nāgas in the broader list, of which several are named in this verse.
It contributes to creation-era cataloging typical of Purāṇic cosmology—enumerating notable beings (here, nāgas) as part of describing the ordered structure of the world.