Shloka 43
Śatrughna’s Entry into Ahicchatrā
Temptation of Sumada and the Goddess’s Boon
श्रुत्वा प्राप्तं पुरी पार्श्वे हयमेधहयोत्तमम् । त्वां च सर्वैर्महाराजैः सेवितांघ्रिं महामतिम्
śrutvā prāptaṃ purī pārśve hayamedhahayottamam | tvāṃ ca sarvairmahārājaiḥ sevitāṃghriṃ mahāmatim
ولما سمعوا أن خير خيل الأشوَميدها قد بلغ جوار المدينة، وأنك—يا عظيم الرأي—هو الذي تُبجَّل قدماه من جميع الملوك العظام، أقبلوا إليك.
Unspecified (context-dependent narration within the dialogue of the chapter)
Concept: Ritual sovereignty (yajña) demands humility and recognition of higher authority; true greatness is measured by reverence, not mere power.
Application: When success or status appears (symbolized by the sacrificial horse), respond with respect, protocol, and ethical clarity rather than impulsive rivalry.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"The foremost Aśvamedha horse, adorned with ritual cloth and golden bells, stands near the city outskirts as dust rises from approaching chariots. Great kings dismount and walk forward with folded hands toward the revered sage/leader whose feet they honor, while priests hold yajña implements and banners ripple in the wind.","primary_figures":["Aśvamedha horse","Great kings (mahārājas)","Revered great-minded figure (mahāmati)","Priests (ṛtviks)","Heralds and attendants"],"setting":"City outskirts with a ceremonial road, temporary yajña pavilion, and a guarded boundary marked by flags and ritual posts.","lighting_mood":"golden dawn","color_palette":["burnished gold","saffron","dusty rose","lapis blue","white linen"],"tanjore_prompt":"Tanjore painting style: richly caparisoned Aśvamedha horse with gold ornaments; kings in jeweled crowns approaching a seated mahāmati on a throne-like āsana; gold leaf on ornaments and halo, deep reds/greens, temple-arch framing, gem-studded details.","pahari_prompt":"Pahari miniature style: elegant procession on a winding road near a city; delicate horse trappings, refined faces of kings in humility; soft dawn sky, lyrical trees, subtle dust haze, cool-warm balance typical of hill miniatures.","kerala_mural_prompt":"Kerala mural style: stylized horse with ornate patterns; kings in profile with folded hands; bold outlines, flat yet vibrant pigments, ceremonial pavilion motifs, temple-wall narrative panel composition.","pichwai_prompt":"Pichwai cloth painting style: central sacred horse with lotus motifs on its cloth; surrounding kings in symmetrical arrangement; ornate floral borders, peacocks and creepers, deep blue ground with gold highlights, devotional reverence emphasized."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["hoof bells","processional drums","conch shell","chanting of priests","city gate creak"]}
Sandhi Resolution Notes: सर्वैर्महाराजैः = सर्वैः + महाराजैः. sevitāṃghriṃ is resolved as सेवित + अङ्घ्रिम् (sandhi: त + अ = ता; orthographic in IAST shows āṃghriṃ). hayamedhahayottamam is treated as हयमेध + हय + उत्तमम्.
FAQs
It refers to the consecrated horse released for the Aśvamedha royal sacrifice; its arrival near a city signals a significant political-ritual event tied to sovereignty.
By describing the addressed person as “sevitāṅghri”—one whose feet are served by all great kings—indicating exceptional spiritual or royal eminence acknowledged widely.
It highlights humility and honor toward a worthy superior (guru, sage, or righteous ruler), presenting reverent service as a marker of dharmic conduct.