Shloka 16
Hymn of Victory: Varāha, the Slaying of Hiraṇyākṣa, and the Praise of Viṣṇu
तुरुतुंबुरुदुर्मेधस्साधका साधकाभिधाः । क्रूर क्रौंच रणेशान मोदसंमोद षण्मुखाः
turutuṃburudurmedhassādhakā sādhakābhidhāḥ | krūra krauṃca raṇeśāna modasaṃmoda ṣaṇmukhāḥ
“ตุรุตุṃบูรุ ทุรเมธัส สาธกะ และผู้ที่เรียกว่าสาธกะ; ครูระ เคราญจะ รเณศานะ โมทสํโมทะ และษัณมุขะ”
Uncertain from single-verse context (likely a narrator listing names within the Adhyaya’s catalogue).
Concept: Naming fixes identity in narrative memory; the Purāṇa preserves cosmological ‘who’s who’ to map forces of order and disorder.
Application: Notice the ‘names’ of your inner obstacles—labeling patterns (cruelty, dullness, pride) helps disarm them.
Primary Rasa: raudra
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A dark scroll of names seems to materialize in the air above the battlefield, each name forming as a smoky glyph that briefly becomes a demonic visage before dissolving. The scene feels like a cosmic ledger being read aloud—faces, weapons, and banners flicker in and out like remembered nightmares.","primary_figures":["Asura figures representing Turutuṃburu","Durmedhas","Sādhaka","Krūra","Krauñca","Raṇeśāna","Modasaṃmoda","Ṣaṇmukha"],"setting":"liminal battlefield-void, like a memory-space between worlds, with drifting banners and ash","lighting_mood":"moonlit","color_palette":["midnight blue","smoke violet","ashen gray","blood maroon","dull bronze"],"tanjore_prompt":"Tanjore painting style: a ‘cosmic register’ composition—rows of stylized asura heads with ornate crowns, each framed in gold leaf cartouches bearing their names in decorative script; rich reds/greens, heavy jewelry, dramatic symmetry, temple-like border.","pahari_prompt":"Pahari miniature style: a poetic montage of small vignettes—each named asura shown in a tiny panel with delicate brushwork; cool palette, refined line, misty negative space connecting the panels like a narrative garland.","kerala_mural_prompt":"Kerala mural style: a frieze of demon figures in rhythmic repetition, bold outlines, flat pigments; each figure with distinct weapon and posture; background like a temple wall with stylized cloud bands.","pichwai_prompt":"Pichwai cloth painting style: transform the name-list into a patterned border of medallions; each medallion contains a stylized demon-mask motif; deep blue cloth ground, gold and red detailing, floral separators."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drone (tanpura)","page-turning rustle","distant war drums","wind","measured cymbals"]}
Sandhi Resolution Notes: दुर्मेधस्साधकाः → दुर्मेधाः साधकाः (विसर्ग/सकार संधि; पाठानुसार पृथक्करण).
FAQs
Many Sṛṣṭikhaṇḍa passages are encyclopedic catalogues (of beings, lineages, attendants, or classes). This verse functions as a roll-call within that larger listing.
‘Ṣaṇmukha’ literally means “six-faced” and is a common epithet of Skanda, but in catalogue verses it can also appear as a name/epithet within a group. Confirming identity requires surrounding verses.
On its own, the verse is primarily nominative (a name-list). Any ethical/devotional takeaway is usually supplied by the broader Adhyaya context rather than this single line.