Shloka 24
The Vow of the Bed of Good Fortune (Saubhāgya-śayana) and the Saubhāgyāṣṭaka
त्रिपुरघ्नाय विश्वेशमनंतायै करद्वयम् । त्रिलोचनायेति हरं बाहू कालानलप्रिये
tripuraghnāya viśveśamanaṃtāyai karadvayam | trilocanāyeti haraṃ bāhū kālānalapriye
تریپورغن، تریپورا کے قاتل—اے وِشوَیش! اس نے اننتا کو دونوں ہاتھ نذر کیے۔ “تری لوچن کو” کہہ کر، اے کالانل پریے، اس نے بازوؤں سے ہَر (شیو) کو آغوش میں لیا۔
Uncertain from single-verse context (likely a narrator describing a ritual/gesture toward Śiva).
Concept: Remembering the deity’s victorious forms (Tripuraghna, Trilocana) and responding with intimate devotion (embrace) unites awe and closeness—bhaya and prema transmuted into surrender.
Application: When facing inner ‘Tripuras’ (threefold afflictions), recall a protective divine archetype; combine strength with tenderness—firm resolve without losing compassion.
Primary Rasa: vira
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Śiva as Tripuraghna stands poised with a cosmic bow, the three aerial cities of Tripura dissolving into luminous ash in the distance. In the foreground, the devotee offers both hands to Anantā as a serene śakti, then—uttering ‘Trilocanāya’—wraps arms around Hara in a visionary embrace, while a subtle ‘kālānala’ fire-ring glows behind them like time itself.","primary_figures":["Tripuraghna (Śiva)","Viśveśa (Śiva as Lord of the universe)","Anantā (śakti)","Hara (Śiva)","devotee (visionary worshipper)"],"setting":"Mythic-celestial battlefield transitioning into a temple-vision space; distant burning Tripura cities in the sky; foreground altar with lamp and flowers.","lighting_mood":"dramatic","color_palette":["smoldering crimson","ash silver","sapphire night","molten gold","ember orange"],"tanjore_prompt":"Tanjore painting style: grand Tripuraghna with gold leaf halo, jeweled crown, and ornate bow; three stylized flying cities burning in the background with gold highlights; Anantā as a graceful goddess receiving the devotee’s offered hands; foreground embrace of Hara rendered with rich reds and greens, embossed gold Devanagari ‘Tripuraghnāya’, ‘Trilocanāya’; gem-studded ornaments and elaborate arch framing the scene.","pahari_prompt":"Pahari miniature style: elegant celestial landscape with delicate smoke trails from Tripura; Śiva as archer in refined posture; the embrace scene softened into a devotional vision with lyrical naturalism; cool indigo sky, warm ember accents, fine facial features and subtle emotion.","kerala_mural_prompt":"Kerala mural style: bold outlines; Tripuraghna iconic with bow and three burning forts as stylized motifs; Anantā and Hara in symmetrical composition; strong red-yellow-green palette with black contouring; time-fire ring as patterned aureole.","pichwai_prompt":"Pichwai cloth painting style: central medallion of Tripuraghna with bow; surrounding border of flames and lotus motifs; side panels showing the devotee offering hands to Anantā and embracing Hara; deep blue cloth ground with gold and vermilion detailing, intricate floral borders and decorative script cartouches."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell (clear)","temple drums (soft but martial)","crackling fire (distant)","bell crescendo then hush"]}
Sandhi Resolution Notes: विश्वेशमनंतायै = विश्वेशम् + अनन्तायै.
FAQs
Tripuraghna is Śiva, famed for destroying the three demon cities (Tripura), a common epithet in Purāṇic hymnology.
The verse depicts reverential gestures—offering both hands and embracing Hara—framed as worshipful address through Śiva’s epithets.
Purāṇic verses often stack epithets to convey theology: Viśveśa (cosmic lordship), Trilocana (transcendent vision), and Hara (the remover/destroyer of evil).