Shloka 108
The Tārakāmaya War: Divine Mustering, Māyā Countermeasures, Aurva Fire, and Viṣṇu’s Slaying of Kālanemi
ततो युगांते भूतानामेष चाहं च पुत्रक । सहितो विचरिष्यावो निष्पुराणकराविह
tato yugāṃte bhūtānāmeṣa cāhaṃ ca putraka | sahito vicariṣyāvo niṣpurāṇakarāviha
پھر یُگ کے اختتام پر، اے میرے بچے، یہ اور میں ساتھ مل کر یہاں گھومیں گے اور اس جہان کو پرانوں سے خالی کر دیں گے۔
Uncertain (context-dependent; not identifiable from the single verse alone)
Concept: All narratives and structures are time-bound; at yugānta even ‘texts/world-orders’ are withdrawn, pointing to the transience of manifested knowledge-forms.
Application: Hold teachings with reverence yet without clinging; use scripture to transform conduct now, remembering impermanence of all conditioned forms.
Primary Rasa: bhayanaka
Secondary Rasa: adbhuta
Type: celestial_realm
Visual Art Cues: {"scene_description":"At the edge of time, a dim, wind-scoured world lies stripped of familiar forms; ash-like clouds coil across a darkened sky. Two cosmic figures—elder and ‘child’—walk across a dissolving landscape where fragments of palm-leaf manuscripts and temple silhouettes fade into mist, symbolizing the withdrawal of Purāṇic order.","primary_figures":["cosmic elder (speaker, unspecified)","pūtraka (child/son figure)","personified Time (Kāla) as a shadow presence"],"setting":"Yugānta wasteland: collapsing horizons, drifting ash, broken pillars, vanishing script-motifs.","lighting_mood":"storm-lit","color_palette":["charcoal gray","ashen white","blood red","dull gold","smoky violet"],"tanjore_prompt":"Tanjore painting style: apocalyptic yugānta scene framed by a temple-arch motif; two figures walking over cracked earth with fading manuscript patterns; dramatic gold leaf used sparingly as ‘dying radiance’ around halos; rich maroons and blacks, embossed clouds and flames at the margins.","pahari_prompt":"Pahari miniature style: lyrical yet ominous landscape with pale mountains and smoky skies; two travelers in simple garments, delicate brushwork showing dissolving script fragments carried by wind; subdued palette, refined faces conveying solemn resolve.","kerala_mural_prompt":"Kerala mural style: bold outlines of two figures against swirling dark cloud bands; stylized collapsing architecture; strong contrasts of red/ochre/black, large expressive eyes, rhythmic composition suggesting cosmic inevitability.","pichwai_prompt":"Pichwai cloth painting style: symbolic yugānta textile—central path with two figures, borders of withering lotus motifs and fading conch patterns; deep indigo field with gold accents turning to ash-white; decorative yet unsettling symmetry."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["distant thunder","wind roar","conch blast","sudden silences"]}
Sandhi Resolution Notes: yuga + ante → yugāṃte; bhūtānām + eṣaḥ → bhūtānāmeṣa; niṣpurāṇakarau + iha → niṣpurāṇakarāviha (vowel sandhi: au+i → āviha).
FAQs
It frames events within yuga-cycles, implying that major shifts in the world’s religious or narrative order can occur at a yuga’s end.
Literally “making (it) without Purāṇas.” Depending on context, it can imply suppressing, removing, or rendering ineffective Purāṇic narratives/teachings in the world.
It cautions that sacred knowledge traditions can be vulnerable in periods of decline, encouraging preservation, discernment, and recommitment to dharma during transitional times.