Shloka 28
Yayāti Ensnared by Desire: Gandharva Marriage, Aśvamedha, and the Demand to See the Worlds
दीनेषु च विशेषेण ययातिः पृथिवीपतिः । यज्ञांते च महाराजस्तामुवाच वराननाम्
dīneṣu ca viśeṣeṇa yayātiḥ pṛthivīpatiḥ | yajñāṃte ca mahārājastāmuvāca varānanām
وكان يَياطي، ملكُ الأرض، أسبقَ الناس ولا سيّما في الإحسان إلى الفقراء. وعند ختام القربان خاطب الملكُ العظيمُ تلك الحسناءَ ذاتَ الوجه البهيّ.
Narrator (describing King Yayāti)
Concept: Rājadharma is proven by compassion and active support of the poor, especially after yajña when merit is to be shared.
Application: Treat charitable giving and respectful speech as the ‘completion’ of one’s achievements; after any success, consciously share resources with those in need.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"At the closing of a grand yajña, King Yayāti stands beside the smoldering altar, his posture calm and protective. Around him, humble petitioners and the poor receive attention and gifts, while a radiant, fair-faced woman waits as the king turns to address her with measured tenderness.","primary_figures":["King Yayāti","fair-faced woman (varānanā)","priests (ṛtvij)","poor petitioners"],"setting":"yajña-śālā with vedi altar, ladles, soma vessels, banners, and a gathered court at the sacrifice’s conclusion","lighting_mood":"temple lamp-lit","color_palette":["saffron orange","smoke gray","ivory white","emerald green","antique gold"],"tanjore_prompt":"Tanjore painting style: King Yayāti at the yajña’s end, standing near a gold-embellished fire altar, offering compassionate attention to poor petitioners; the varānanā woman in rich silk stands to the side; heavy gold leaf halos, gem-studded ornaments, deep red and green textiles, traditional South Indian iconographic symmetry, ornate arch framing the sacrificial pavilion.","pahari_prompt":"Pahari miniature style: a lyrical yajña courtyard with delicate figures—Yayāti in pale gold garments, priests by the altar, poor villagers at the edge receiving alms; the fair-faced woman in soft pink veil; cool, refined palette with detailed flora, gentle facial features, and airy architectural lines.","kerala_mural_prompt":"Kerala mural style: bold-outlined king beside a stylized yajña fire, priests with ritual implements, the varānanā with large expressive eyes; flat temple-wall composition, natural pigments, dominant reds/yellows/greens, rhythmic ornamentation around the pavilion.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial pavilion with lotus borders and floral vines; central royal figure near the sacred fire, attendants distributing gifts to the poor; peacocks and stylized lotuses in the margins, deep indigo background with gold detailing, devotional textile symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["crackling sacrificial fire","soft temple bells","murmur of priests","conch shell (closing rite)"]}
Sandhi Resolution Notes: यज्ञांते = यज्ञान्ते (अनुस्वार-लेखनभेद). महाराजस्तामुवाच = महाराजः + ताम् + उवाच (ः + त → स्; ताम् + उवाच → तामुवाच).
FAQs
It praises a king’s dharma as special care for the poor (dīneṣu viśeṣeṇa), presenting compassion and generosity as royal excellence.
It sets the narrative moment: after completing the yajña, the king formally speaks, implying that righteous speech and decisions follow sacred duty and ritual completion.
The verse only indicates a woman being addressed (varānanām) without naming her here; her identity would be clarified by adjacent verses in the chapter.