Shloka 16
Instruction on Dharma and Truth as Viṣṇu’s Own Nature
with Teaching on Impermanence and Detachment
दैत्यकायेषु यः स्वस्थः पापमेव समास्थितः । जघ्निवान्दानवान्देवि स च क्रुद्धो महामतिः
daityakāyeṣu yaḥ svasthaḥ pāpameva samāsthitaḥ | jaghnivāndānavāndevi sa ca kruddho mahāmatiḥ
Siya na, bagaman nananahan sa mga katawan ng mga Daitya, ay nanatiling di-nayanig at matatag sa kasalanan—O Diyosa—yaong dakilang may isip, sa galit, ay pumatay sa mga Dānava.
Unspecified narrator addressing Devī (likely a male speaker in dialogue with Parvatī/Devī)
Concept: Even when embedded among the wicked, one who clings to sin becomes the target of divine correction; anger here functions as dharmic enforcement.
Application: Environment influences but does not excuse; avoid ‘settling into’ unethical norms—seek sāttvika company and corrective practices.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Type: celestial_realm
Visual Art Cues: {"scene_description":"Within an asuric stronghold of dark stone and smoky skies, a figure ‘at home’ in sin stands rigid and unrepentant, surrounded by looming Daitya forms. Suddenly, the divine presence erupts—Viṣṇu’s wrathful aspect blazing—striking down the Dānavas as the fortress shadows fracture under a surge of radiant order.","primary_figures":["Viṣṇu (wrathful protector aspect)","Dānavas","Daityas (as surrounding milieu)","Devī/Parvatī (as addressed listener, optional presence)"],"setting":"Asuric citadel or nether-like battlefield edge: jagged architecture, smoky banners, oppressive atmosphere contrasted by divine radiance.","lighting_mood":"divine radiance cutting through gloom","color_palette":["obsidian black","molten gold","smoldering crimson","ashen violet","steel blue"],"tanjore_prompt":"Tanjore painting style: wrathful yet auspicious Viṣṇu with gold leaf flames and halo, chakra/weapon emphasized, asuric fortress backdrop in deep maroons and blacks, Dānavas collapsing in stylized poses, ornate border with lotus and flame motifs; heavy gilding to show divine order overpowering darkness.","pahari_prompt":"Pahari miniature style: dramatic contrast—dark fort walls and smoky sky rendered with cool washes, Viṣṇu’s radiant form in luminous blue-gold, expressive fear on asuric faces, fine detailing on armor and textiles; cinematic diagonals and delicate linework.","kerala_mural_prompt":"Kerala mural style: bold outlines, intense red-yellow aura around Viṣṇu, asuric figures in dark green/gray, fortress motifs stylized, rhythmic composition with strong symmetry; temple-panel drama with natural pigments.","pichwai_prompt":"Pichwai cloth painting style: symbolic rendering—dark patterned fortress as a border field, central Viṣṇu as radiant mandala, Dānavas as dark motifs dissolving into floral/lotus patterns, deep indigo ground with gold and crimson highlights; ornate borders and devotional abstraction."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","low drum","wind through stone corridors","temple bell strike"]}
Sandhi Resolution Notes: जघ्निवान्दानवान्देवि = जघ्निवान् + दानवान् + देवि (व्यञ्जन-सन्धिः: न् + द → न्द)।
FAQs
Daityas and Dānavas are two prominent groups of Asuras (anti-gods/demonic clans) in Purāṇic literature, often portrayed as opponents of Devas and embodiments of adharma in mythic narratives.
The verse frames steadfast commitment to pāpa (sin/evil) and action driven by krodha (anger) as destructive forces, culminating in violence and ruin—an implicit warning against moral corruption and uncontrolled wrath.
Addressing 'Devī' signals a dialogic setting where a speaker narrates events to the Goddess (often Parvatī). This is a common Purāṇic framing device used to present teachings and stories within a sacred conversation.