Shloka 64
The Destruction of Dakṣa’s Sacrifice
निर्ददाह तदात्मानं सदेवासुरपन्नगैः । किंकिमेतदिति प्रोक्ते गंधर्वगणगुह्यकैः
nirdadāha tadātmānaṃ sadevāsurapannagaiḥ | kiṃkimetaditi prokte gaṃdharvagaṇaguhyakaiḥ
دیوتاؤں، اسروں اور ناگوں کی موجودگی میں، اس نے خود کو جلا ڈالا۔ گندھروں نے حیرت سے پوچھا، ”یہ کیا ہے، یہ کیا ہو رہا ہے؟“
Narrator (context not fully specified from single verse; likely within the Pulastya–Bhīṣma dialogue frame of Sṛṣṭikhaṇḍa)
Concept: The body can be relinquished through yogic mastery; extreme acts expose the fragility of ritual pride and the supremacy of inner spiritual power.
Application: Do not romanticize extremes; take the principle: cultivate inner discipline and let ego die—symbolically—through humility, service, and steady practice.
Primary Rasa: adbhuta
Secondary Rasa: bhayanaka
Type: temple
Visual Art Cues: {"scene_description":"Before a vast assembly—devas in shining armor, asuras with darker splendor, and nāgas coiled like living jewels—the yogin’s body erupts into a controlled pillar of fire, not chaotic but ritual-precise. Gandharvas and Guhyakas recoil in astonishment, hands raised, as the flames form a luminous column that seems to connect earth and heaven, turning the moment into a cosmic omen.","primary_figures":["yogin/tapasvin (self-immolating)","Devas","Asuras","Nāgas (pannagas)","Gandharvas","Guhyakas"],"setting":"Open ritual courtyard adjoining the yajña pavilion; multi-tiered crowd with celestial balconies and hovering vimānas; smoke spirals into the sky.","lighting_mood":"blazing pillar of fire against a darkened, stunned assembly","color_palette":["incandescent gold","ember red","midnight blue","obsidian black","opal white"],"tanjore_prompt":"Tanjore painting style: central vertical fire-pillar rendered with thick gold-leaf and embossed flame patterns; surrounding devas/asuras/nāgas arranged in concentric tiers with jewel-like ornamentation; Gandharvas and Guhyakas in expressive poses of astonishment; rich reds and greens in garments, heavy gold detailing on crowns and weapons, dramatic symmetry.","pahari_prompt":"Pahari miniature style: a tall, elegant flame column painted with delicate gradients; crowd scenes with refined faces—devas luminous, asuras shadowed, nāgas iridescent; cool night sky and soft cloud bands; narrative clarity with lyrical astonishment, fine brushwork and subtle emotion.","kerala_mural_prompt":"Kerala mural style: bold outlines and stylized flame geometry; large-eyed celestial beings in layered rows; nāgas with patterned scales; strong red/yellow/green palette anchored by deep blues; temple-wall grandeur emphasizing the central fiery axis.","pichwai_prompt":"Pichwai cloth painting style: central flame as a patterned vertical motif, bordered by lotus and floral designs; devas/asuras/nāgas arranged symmetrically like a mandala; deep indigo background with gold and red highlights; intricate borders and repeating ornamental elements, theatrical astonishment in simplified gestures."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["roaring fire","celestial drums","gasping crowd murmur","sudden bell clang","wind rush"]}
Sandhi Resolution Notes: तदात्मानं = तद् + आत्मानम् (तत्पुरुष); सदेवासुरपन्नगैः = स + देव + असुर + पन्नगैः (द्वन्द्व-समास with सह-भाव); किंकिमेतदिति = किम् + किम् + एतत् + इति; गंधर्वगणगुह्यकैः = गन्धर्व + गण + गुह्यकैः (द्वन्द्व)
FAQs
It describes a figure burning up his own body/self, witnessed by multiple classes of celestial and semi-celestial beings, prompting them to ask what is happening.
Gandharvas are celestial musicians and courtiers; Guhyakas are a class of yakṣa-like hidden guardians/attendants often associated with divine treasuries and sacred places.
The verse points to extreme tapas or a dramatic transformative act (self-consuming fire), highlighting the Puranic theme that powerful inner resolve or austerity can trigger cosmic attention and inquiry.