Shloka 48
The Burning of Tripura and the Sacred Greatness of Amarakāṇṭaka
Jvāleśvara on the Narmadā
आसनस्थोऽब्रवीदेवमहं देवैर्विनाशितः । अल्पसारैर्दुराचारैरीश्वरस्य निवेदितः
āsanastho'bravīdevamahaṃ devairvināśitaḥ | alpasārairdurācārairīśvarasya niveditaḥ
เขานั่งบนอาสนะแล้วกล่าวว่า: “เราถูกเหล่าเทวะทำลาย เพราะคนใจคับแคบและทุจริตได้นำเรื่องของเราไปทูลต่อพระอีศวร”
Unspecified (a seated figure speaking; context needed to identify the character)
Concept: Adharma often rationalizes itself as victimhood; ‘petty and wicked’ informants symbolize inner vices that report the soul to judgment—conscience and cosmic law cannot be evaded.
Application: When feeling wronged, examine one’s own conduct and the counsel one keeps; avoid slander and cultivate sat-saṅga to prevent ‘durācāra’ from steering decisions.
Primary Rasa: karuna
Secondary Rasa: raudra
Type: celestial_realm
Visual Art Cues: {"scene_description":"A defeated ruler sits rigidly upon a scorched throne, ash settling on jeweled armrests. His face twists between rage and sorrow as he gestures toward unseen ‘petty, wicked’ accusers, while behind him the palace walls glow with residual heat and falling embers.","primary_figures":["Seated speaker (ruined by the gods)","Shadowy accusers/courtiers (durācāra, alpāsāra)","Implied Īśvara as distant authority (not necessarily depicted)"],"setting":"A damaged royal hall within Tripura—cracked pillars, torn banners, smoke drifting through high arches; a throne dais at center.","lighting_mood":"forest dappled","color_palette":["burnt sienna","ashen beige","dull gold","deep maroon","smoke blue"],"tanjore_prompt":"Tanjore painting style: a throne-room tableau with heavy gold borders; the seated figure in ornate but soot-stained regalia, expressive hands; background architecture embellished with gold leaf highlights on pillars and throne; small figures of whispering courtiers at the margins; embers rendered as tiny gold dots.","pahari_prompt":"Pahari miniature style: intimate court scene with refined facial expressions; muted palette suggesting ruin; delicate smoke veils; the seated figure’s complaint conveyed through subtle hand gesture; courtiers as small, clustered silhouettes with whispering posture.","kerala_mural_prompt":"Kerala mural style: frontal throne composition, bold outlines; the speaker’s eyes wide and intense; patterned throne and pillars; accusers as stylized side figures; dominant reds/yellows with blackened ruin motifs.","pichwai_prompt":"Pichwai cloth painting style: throne scene framed by ornate floral borders; repeated ember motifs like gold bindis; stylized architecture as decorative panels; figures arranged symmetrically with narrative clarity, deep maroon and indigo ground."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["low murmurs of a court","distant crackle","soft drum (pakhawaj)","wind through hall","brief bell chime"]}
Sandhi Resolution Notes: आसनस्थोऽब्रवीत् = आसनस्थः + अब्रवीत्; देवमहं = एवम् + अहम्; देवैर्विनाशितः = देवैः + विनाशितः; अल्पसारैर्दुराचारैरीश्वरस्य = अल्पसारैः + दुराचारैः + ईश्वरस्य.
FAQs
It depicts a speaker lamenting that he was ruined due to being reported/accused to Īśvara by petty and wicked people, highlighting the destructive power of slander and malicious reporting.
The verse itself does not name the speaker; it only states that someone “seated on his seat” spoke. Identifying the speaker requires the surrounding verses of Svarga-khaṇḍa 3.15.
It warns against the harm caused by ill-conducted, petty-minded informers and implies the need for discernment and fairness before accepting accusations brought to authority.