Shloka 153

Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy

Devanagari script

निघ्नपुत्रावुभौ जातावनमित्र रघूत्तमौ । अनमित्रो वनमगादरिनाशकृते नृप

Transliteration

nighnaputrāvubhau jātāvanamitra raghūttamau | anamitro vanamagādarināśakṛte nṛpa

Translation

اے راجا! نِغن کے دو برگزیدہ بیٹے پیدا ہوئے—انمِتر اور رَغھوُتّم۔ انمِتر دشمنوں کے قلع قمع کے لیے جنگل کو چلا گیا۔

Word by Word

• निघ्नपुत्रौ: the two sons of Nighna
• निघ्नपुत्रौ: कर्ता (Subject/कर्ता)
• Type: Noun
• Root: निघ्न (प्रातिपदिक) + पुत्र (प्रातिपदिक)
• Form: षष्ठी-तत्पुरुष (‘निघ्नस्य पुत्रौ’), पुंलिङ्ग, प्रथमा, द्विवचन (Dual)

• उभौ: both
• उभौ: विशेषण (Qualifier)
• Type: Adjective
• Root: उभ (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा, द्विवचन; निघ्नपुत्रौ इत्यस्य विशेषणम्

• जातौ: were born
• जातौ: क्रिया (Predicate)
• Type: Verb
• Root: जन् (धातु) / जात (कृदन्त-प्रातिपदिक)
• Form: क्त-प्रत्यय (past participle), पुंलिङ्ग, प्रथमा, द्विवचन; ‘(तौ) जातौ’ = were born

• वनमित्र: Vanamitra
• वनमित्र: कर्ता (Subject/कर्ता)
• Type: Noun
• Root: वन (प्रातिपदिक) + मित्र (प्रातिपदिक)
• Form: तत्पुरुष-समास (नाम), पुंलिङ्ग, प्रथमा, एकवचन; द्वन्द्व-सूच्य-नामेषु प्रथमः (one of the two)

• रघूत्तमौ: the best of the Raghu line (two)
• रघूत्तमौ: विशेषण (Qualifier)
• Type: Noun
• Root: रघु (प्रातिपदिक) + उत्तम (प्रातिपदिक)
• Form: तत्पुरुष (रघूणाम् उत्तमौ), पुंलिङ्ग, प्रथमा, द्विवचन; निघ्नपुत्रौ इत्यस्य विशेषणम्

• अनमित्रः: Anamitra
• अनमित्रः: कर्ता (Subject/कर्ता)
• Type: Noun
• Root: अनमित्र (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा, एकवचन

• वनम्: to the forest
• वनम्: कर्म (Object/कर्म)
• Type: Noun
• Root: वन (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया, एकवचन

• अगात्: went
• अगात्: क्रिया (Verb)
• Type: Verb
• Root: गम् (धातु)
• Form: लुङ्-लकार (Aorist), प्रथमपुरुष, एकवचन; परस्मैपद

• अरिनाशकृते: for the destruction of enemies
• अरिनाशकृते: प्रयोजन (Purpose/प्रयोजन)
• Type: Indeclinable
• Root: अरि (प्रातिपदिक) + नाश (प्रातिपदिक) + कृते (कृदन्त/अव्यय-प्रयोग)
• Form: समासान्त ‘कृते’ (हेतोः/निमित्ते = for the sake of), तत्पुरुष-समास (‘अरिणां नाशः’ + कृते), अव्ययीभाववत् हेत्वर्थे प्रयोगः

• नृप: O king
• नृप: सम्बोधन (Address)
• Type: Noun
• Root: नृप (प्रातिपदिक)
• Form: पुंलिङ्ग, सम्बोधन-विभक्ति (Vocative), एकवचन

Speaker

Narrator (contextual; specific dialogue-speaker not identifiable from the single verse alone)

Philosophical Teaching

Concept: Righteous power is not mere conquest; it is disciplined action undertaken for protection and the removal of adharma.

Application: Channel aggression into principled protection—act firmly against harm while keeping motives clean and aligned with duty.

Verse Rasa

Primary Rasa: vira

Secondary Rasa: shanta

Geographic Context

Type: forest

Visual Art Cues

Visual Art Cues: {"scene_description":"Two princely brothers stand at the edge of a dense forest; one, Anamitra, steps forward with a bow, his gaze fixed on unseen threats, while the other remains poised in calm strength. The forest seems alive—shadowed trunks, watchful birds, and a faint aura suggesting that duty itself has become a vow.","primary_figures":["Anamitra","Raghuuttama","(addressed) King (nṛpa) as listener-figure"],"setting":"Forest threshold with tall sal trees, a narrow path, and a distant hermitage hinted by smoke from a small fire.","lighting_mood":"forest dappled","color_palette":["deep viridian","shadow umber","bronze","ash white","saffron"],"tanjore_prompt":"Tanjore painting style: Anamitra in royal attire stepping into a stylized forest, bow raised; Raghuuttama behind him; gold leaf highlights on weapons, crowns, and leaf motifs; rich red and green garments, ornate jewelry, temple-arch border framing a heroic departure scene.","pahari_prompt":"Pahari miniature style: lyrical forest edge with delicate leaves; Anamitra’s forward stride captured with refined linework; cool greens and browns, soft saffron sash, distant pale-blue hills; subtle narrative calm with heroic intent.","kerala_mural_prompt":"Kerala mural style: bold outlines; heroic stance with exaggerated expressive eyes; patterned forest backdrop; warm red/yellow/green pigments; rhythmic depiction of bow, quiver, and stylized foliage.","pichwai_prompt":"Pichwai cloth painting style: forest rendered as a decorative floral lattice; central heroic figure with bow; peacocks and lotus borders; deep indigo background with gold and white detailing, devotional symmetry even in a martial theme."}

Audio Atmosphere

Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["bowstring twang (soft)","forest birds","wind through bamboo","distant conch"]}

Sandhi Resolution Notes

Sandhi Resolution Notes: निघ्नपुत्रावुभौ = निघ्नपुत्रौ + उभौ; जातावनमित्र = जातौ + वनमित्र; अनमित्रो = अनमित्रः + (अ) (विसर्ग-लोप); वनमगात् = वनम् + अगात्; अगादरिनाशकृते = अगात् + अरिनाशकृते (त् + अ → द् + अ)।

Characters & Entities

• Anamitra
• Raghuuttama
• Nighna

FAQs

Who are Anamitra and Raghuuttama in this verse?

They are presented as the two sons of Nighna, described as excellent figures in a royal genealogical narration.

Why does Anamitra go to the forest according to the verse?

He goes to the forest with the stated purpose of destroying enemies (ari-nāśa-kṛte), implying a martial or protective duty.

What ethical or dharmic theme is implied here?

The verse hints at kṣatriya-dharma—undertaking hardship (going to the forest) to neutralize threats and protect order.