Shloka 18
The Slaying of the Kālakeyas and the Greatness of Vināyaka Worship
संसर्गिणां च म्लेछानां गत्यर्थं सुतपस्विनाम् । पुत्रार्थं सर्वलोकानां तत्र शंभुर्विनायकः
saṃsargiṇāṃ ca mlechānāṃ gatyarthaṃ sutapasvinām | putrārthaṃ sarvalokānāṃ tatra śaṃbhurvināyakaḥ
ณที่นั้น ศัมภู—ผู้เป็นที่รู้จักนามว่าวินายกะ—สถิตเพื่อประทานคติอันสูงแก่ผู้คบหามเลจฉะ เพื่อเกื้อกูลแก่ตปัสวินผู้ทรงตบะยิ่ง และเพื่อให้สมปรารถนาเรื่องบุตรแก่ชนทั้งปวงในทุกโลก
Unspecified (narrative voice within Sṛṣṭikhaṇḍa 65)
Concept: Grace is remedial and inclusive: sacred presence can elevate those in difficult social/ethical circumstances, empower ascetics, and fulfill householders’ legitimate aims.
Application: Do not despair over imperfect environments; seek sanctifying practices and communities that elevate conduct. Balance spiritual aspiration with responsible worldly duties (including family life) without shame.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"At the riverside shrine, three streams of seekers converge: an austere tapasvin with matted hair, a householder couple praying for a child, and a troubled traveler seeking release from degrading associations. Śambhu as Vināyaka radiates a steady, compassionate force, as if the tirtha itself is a bridge carrying all toward a higher gati.","primary_figures":["Śambhu (as Vināyaka)","tapasvin (great ascetic)","householder couple seeking progeny","seeker burdened by harmful associations"],"setting":"Riverside tirtha with ghāṭa steps, small shrine, banyan/forest edge, offerings placed on stone","lighting_mood":"golden dawn","color_palette":["saffron","river blue-green","ash-gray","leaf green","soft gold"],"tanjore_prompt":"Tanjore painting style: central Śambhu-Vināyaka shrine with gold leaf aura, three devotee groups arranged symmetrically—ascetic, householder couple, and repentant traveler—rich reds and greens, ornate jewelry and textiles, gem-studded shrine canopy, visual emphasis on compassionate blessing and uplift.","pahari_prompt":"Pahari miniature style: narrative riverbank tableau with multiple figures in gentle interaction, ascetic seated in meditation, couple offering flowers, traveler with bowed head, subtle divine radiance from the shrine, delicate landscape and soft atmospheric perspective.","kerala_mural_prompt":"Kerala mural style: bold outlines and temple-wall storytelling, Śambhu-Vināyaka at center, devotees in clear iconographic poses, strong reds/yellows/greens, patterned river waves and foliage, expressive eyes conveying supplication and mercy.","pichwai_prompt":"Pichwai cloth painting style: central shrine framed by lotus and floral borders, devotees in circular arrangement representing ‘all worlds’, peacocks and cows near the water for auspiciousness, deep indigo with gold highlights, intricate textile patterns emphasizing universal refuge."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"serene","sound_elements":["flowing water","soft temple bells","wind in leaves","long silence between lines"]}
Sandhi Resolution Notes: गत्यर्थं = गति + अर्थम्; पुत्रार्थं = पुत्र + अर्थम्; सर्वलोकानां = सर्व + लोकानाम्; शंभुर्विनायकः = शंभुः + विनायकः (विसर्ग-सन्धि).
FAQs
The verse names Śambhu (Śiva) and calls him Vināyaka, a title meaning “leader/remover of obstacles.” In some traditions Vināyaka strongly evokes Gaṇeśa, but here the construction points to Śiva being praised with that epithet in the described sacred context.
It presents the sacred presence of Śambhu/Vināyaka as enabling “gati”—a better course or destination—especially for those considered spiritually disadvantaged by circumstance (such as problematic associations), implying purification and uplift through contact with the holy.
The verse implies that sincere approach to the divine (here Śambhu/Vināyaka) can remove obstacles, support ascetic endeavor, and fulfill household aspirations like progeny—encouraging faith, right worship, and reliance on sacred means for both worldly and spiritual aims.