Shloka 5
The Crushing of the Traipuras
Gaṇeśa’s Battle with Tripura’s Son
अवधीत्तं शरैकेन पितरं ते बलेन च । पंकात्प्रतारितो मोहात्प्रेषितो यममंदिरं
avadhīttaṃ śaraikena pitaraṃ te balena ca | paṃkātpratārito mohātpreṣito yamamaṃdiraṃ
ایک ہی تیر سے اس نے تیرے باپ کو قتل کر دیا، اور محض قوت کے زور سے بھی؛ پھر وہ فریبِ موہ میں پڑ کر کیچڑ سے گھسیٹا گیا اور یم کے دھام کی طرف بھیج دیا گیا۔
Unspecified (context-dependent within Adhyaya 74; likely a narrator in a dialogue frame such as Pulastya addressing Bhīṣma)
Concept: Moha (delusion) and adharmic violence culminate in inevitable karmic judgment.
Application: Avoid acting from delusion and pride; pause before harm, seek counsel, and choose dharmic restraint to prevent irreversible consequences.
Primary Rasa: raudra
Secondary Rasa: bhayanaka
Type: celestial_realm
Visual Art Cues: {"scene_description":"A grim battlefield pauses as a fallen father lies struck by a single arrow, while a shadowy force drags a deluded figure from a sucking mire. In the distance, the gates of Yama’s dark citadel loom, attended by stern messengers, suggesting inexorable judgment.","primary_figures":["Fallen father (pitṛ)","Unseen archer (heroic/daivic figure)","Dragged warrior (deluded)","Yama’s attendants (Yamadūtas)"],"setting":"War-torn plain merging into a swampy mire that opens toward a distant infernal-celestial court.","lighting_mood":"storm-lit, ominous twilight with harsh highlights","color_palette":["iron black","blood crimson","ash gray","smoky violet","cold bronze"],"tanjore_prompt":"Tanjore painting style: a dramatic battlefield tableau with a central fallen warrior and a mire at the foreground, Yamadūtas pulling a deluded figure toward a distant Yamamaṇḍira; heavy gold leaf used sparingly as harsh glints on weapons and ornaments, rich maroons and deep greens, stylized South Indian iconographic faces, embossed halos for divine/daivic presence, ornate border with lotus medallions turned somber.","pahari_prompt":"Pahari miniature style: lyrical yet tense scene of a slain father and a figure being hauled from a dark marsh, distant fortress-like Yamamaṇḍira under brooding clouds; delicate brushwork, cool slate and indigo washes, refined profiles, sparse red accents for blood and banners, thin gold linework for weapon edges.","kerala_mural_prompt":"Kerala mural style: bold black outlines and earthy pigments showing the mire, the dragged figure, and stern Yamadūtas; large expressive eyes, red-ochre skin tones, yellow and green fields turned dark, flame-like motifs around the path to Yama’s abode, temple-wall compositional symmetry.","pichwai_prompt":"Pichwai cloth painting style: an unusual ‘dark pichwai’ composition—lotus borders subdued, central battlefield vignette framed by floral motifs; deep midnight blues and maroons, intricate arrow patterns like rain, distant architectural silhouette of Yamamaṇḍira, ornamental detailing on attendants, minimal cows/peacocks replaced by symbolic lotuses wilting to convey karmic fall."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant thunder","war drums fading","conch shell low call","heavy silence after impact"]}
Sandhi Resolution Notes: अवधीत्तं = अवधीत् तम्; पंकात्प्रतारितो = पङ्कात् प्रतारितः; मोहात्प्रेषितो = मोहात् प्रेषितः.
FAQs
It denotes the realm of Yama, the lord of death and judgment, implying the soul’s transition to post-mortem consequence and moral accounting.
The verse underscores that violence and delusion lead to ruin: even if one acts with power, wrongful action and confusion culminate in punishment and death’s domain.
Not explicitly; it is primarily a karmic-ethical statement about wrongdoing and its consequences, though such warnings often function as a backdrop for later praise of dharma and devotion in Purāṇic discourse.