Shloka 13
Yayāti’s Summons to Heaven and the Teaching on Old Age, the Five-Element Body, and Self–Body Discernment
पुरुर्नाम द्वितीयोऽभूत्कुरुश्चान्यस्तृतीयकः । यदुर्नाम स धर्मात्मा चतुर्थो नृपतेः सुतः
pururnāma dvitīyo'bhūtkuruścānyastṛtīyakaḥ | yadurnāma sa dharmātmā caturtho nṛpateḥ sutaḥ
দ্বিতীয় পুত্ৰৰ নাম আছিল পুরু; আন এজন তৃতীয় আছিল কুরু। চতুৰ্থজন ধৰ্মাত্মা যদু নামৰ—এইসকলেই ৰজাৰ পুত্ৰ।
Narrator (contextual speaker not specified in the provided excerpt)
Concept: Righteous lineage is marked not merely by birth but by dharmātmatā (righteous disposition), which becomes the seed of future social and spiritual order.
Application: Honor family responsibilities while cultivating inner righteousness; let identity be defined by conduct rather than status alone.
Primary Rasa: shanta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A calm royal court scene where the king’s sons are presented in sequence, each standing with distinct insignia—Puru with a modest, steady gaze; Kuru with martial poise; Yadu with a serene, dharmic aura. Scribes record the names on palm-leaf manuscripts as elders bless the princes, hinting at future dynasties branching like a sacred tree.","primary_figures":["King Yayāti","Prince Puru","Prince Kuru","Prince Yadu","court sages","royal scribes"],"setting":"ancient palace sabhā with carved pillars, genealogical scrolls, and ritual lamps; a stylized ‘vaṁśa-vṛkṣa’ motif in the backdrop","lighting_mood":"temple lamp-lit","color_palette":["ivory parchment","sandalwood beige","deep maroon","antique gold","emerald green"],"tanjore_prompt":"Tanjore painting style: Yayāti seated on a jeweled throne under an arch, four princes standing in a row with gold-leaf halos, gem-studded crowns, and ornate silk garments; palm-leaf genealogy manuscript in a scribe’s hands; rich reds and greens, heavy gold leaf embellishment, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a refined court tableau with delicate linework; Yayāti and princes in soft textiles, subtle facial expressions; palace terrace opening to a distant river plain; cool palette with lyrical naturalism and fine detailing on jewelry and manuscripts.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; Yayāti and princes with characteristic large eyes, stylized crowns, and patterned textiles; lamp flames and lotus borders framing the genealogical moment in a temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: a symbolic vaṁśa-vṛkṣa (dynasty tree) sprouting lotus blossoms labeled Puru, Kuru, Yadu; ornate floral borders, deep blues and gold; Vaishnava undertone by placing a subtle Śrīvatsa/Viṣṇu emblem above the tree, integrating lotus motifs throughout."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridanga pulse","palm-leaf rustle","temple bells in distance","court ambience","measured silence between names"]}
Sandhi Resolution Notes: पुरुः + नाम → पुरुर्नाम; द्वितीयः + अभूत् → द्वितीयोऽभूत्; कुरुः + च → कुरुश्च; च + अन्यः → चान्यः; यदुः + नाम → यदुर्नाम; पदच्छेदः: पुरुः / नाम / द्वितीयः / अभूत् / कुरुः / च / अन्यः / तृतीयकः / यदुः / नाम / सः / धर्मात्मा / चतुर्थः / नृपतेः / सुतः
FAQs
It records a royal genealogy by listing the names and birth-order of the king’s sons: Puru (second), Kuru (third), and Yadu (fourth), with Yadu praised as righteous.
The epithet highlights Yadu’s virtuous character, marking him out ethically within the lineage and signaling that moral excellence (dharma) is central to evaluating rulers and royal heirs.
Yes—by explicitly praising one heir as dharmātmā, it implies that nobility is measured not only by birth but also by adherence to dharma and personal virtue.