Shloka 25
जित्वा तत्र महाप्राज्ञ विष्णुना दितिनंदनम् । पुरा शौचं कृतं राजन्हत्वा दैवतकंटकान्
jitvā tatra mahāprājña viṣṇunā ditinaṃdanam | purā śaucaṃ kṛtaṃ rājanhatvā daivatakaṃṭakān
โอ้ผู้ทรงปัญญายิ่ง ครั้งก่อน ณ ที่นั้น พระวิษณุทรงพิชิตบุตรแห่งทิติ และเมื่อทรงปราบอสูรผู้เป็นเสี้ยนหนามแก่เหล่าเทพแล้ว โอ้พระราชา พระองค์ได้ประกอบพิธีชำระตนให้บริสุทธิ์
Uncertain (context not provided; likely a narrator-sage addressing a king, e.g., Pulastya addressing Bhīṣma)
Concept: Even after righteous battle, purification and restraint are honored; dharma includes śauca and ritual closure, not merely victory.
Application: After intense conflict or success, practice ‘closure’: cleansing, reflection, and re-centering—so power remains aligned with ethics.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"Viṣṇu stands victorious on a battlefield that has quieted, the fallen Daitya (Diti’s son) subdued, while the devas look on with relief. Immediately the scene shifts to a sacred ghāṭa: Viṣṇu, serene and composed, performs purification rites—washing hands, offering water, and restoring cosmic balance through calm ritual.","primary_figures":["Viṣṇu","Diti’s son (Daitya)","Deva-gaṇa","A royal listener figure (optional, as ‘rājan’)"],"setting":"A liminal landscape where a battlefield edge meets a tīrtha-ghāṭa; sacred trees, a small altar, and calm water nearby.","lighting_mood":"divine radiance","color_palette":["Vishnu blue","chakra gold","white sandalwood","earth brown","leaf green"],"tanjore_prompt":"Tanjore painting style: Viṣṇu with discus and conch standing over the subdued Daitya, devas in attendance, and a secondary vignette of Viṣṇu at the tīrtha performing śauca with a golden kalasha, heavy gold leaf for ornaments and halos, rich reds/greens, ornate arch and embossed detailing for weapons and water.","pahari_prompt":"Pahari miniature style: narrative split-scene—left: Viṣṇu’s poised victory over a daitya in a gentle hillside; right: quiet ghāṭa where Viṣṇu performs purification, delicate brushwork, cool blues and soft greens, refined expressions, lyrical transition from action to serenity.","kerala_mural_prompt":"Kerala mural style: bold outlined Viṣṇu with large eyes, stylized daitya and devas, patterned water bands for the tīrtha, ritual implements (kalasha, darbha) clearly iconized, warm pigment palette with strong symmetry.","pichwai_prompt":"Pichwai cloth painting style: central Viṣṇu in blue with gold ornaments, floral borders, symbolic depiction of daitya defeat and immediate śauca at a lotus pond, peacocks and lotuses framing the dharmic restoration theme, deep indigo and gold accents."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant war drum fading into silence","conch shell","water pouring from a vessel","temple bells","low tanpura drone"]}
Sandhi Resolution Notes: राजन्हत्वा = राजन् + हत्वा (न् + ह → न्ह्); दैवतकंटकान् = दैवत + कण्टकान्; दितिनंदनम् = दिति + नन्दनम्.
FAQs
The phrase is a general epithet for a Daitya/Asura born of Diti; the specific name depends on the surrounding narrative in Adhyaya 24.
It metaphorically refers to those who afflict or obstruct the Devas—typically Asuras—portrayed as harmful “thorns” removed to restore cosmic order (dharma).
It reflects the dharmic ideal that even after righteous violence (e.g., slaying hostile forces), one undertakes purification to re-establish ritual and moral cleanliness.