Shloka 39
Yayāti’s Summons to Heaven and the Teaching on Old Age, the Five-Element Body, and Self–Body Discernment
तथा ययातिर्धर्मात्मा स्वसभायां विराजते । तमुवाच महात्मानं राजानं सत्यभूषणम्
tathā yayātirdharmātmā svasabhāyāṃ virājate | tamuvāca mahātmānaṃ rājānaṃ satyabhūṣaṇam
So erstrahlte Yayāti, von rechtschaffener Seele, in seiner eigenen königlichen Versammlung. Dann wandte er sich an jenen großen König, dessen Schmuck die Wahrheit war.
Narrator (textual voice introducing the dialogue); Yayāti is about to speak
Concept: Satya is the true ornament of kingship; splendor without truth is hollow.
Application: Let truth be the ‘ornament’ of speech—especially when addressing those in power; cultivate integrity as the source of real influence.
Primary Rasa: vira
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"In a grand royal hall, Yayāti sits or stands with calm majesty, his face serene, as courtiers and sages form a respectful semicircle. He turns to address a truth-adorned king, the air charged with the gravity of righteous counsel rather than mere politics.","primary_figures":["King Yayāti","the addressed great king (satya-bhūṣaṇa)","courtiers","court sages"],"setting":"Earthly rāja-sabhā with carved wooden pillars, lion-throne, banners, and ritual lamps; attendants holding fly-whisks","lighting_mood":"temple lamp-lit","color_palette":["deep maroon","antique gold","ivory","peacock green","smoky blue"],"tanjore_prompt":"Tanjore painting style: Yayāti in regal posture within a palace sabhā, heavy gold leaf on crown, throne, and jewelry; rich maroon drapery, emerald accents; the ‘satya-bhūṣaṇa’ king opposite with a composed expression; symmetrical court arrangement, gem-studded ornaments, traditional South Indian decorative borders.","pahari_prompt":"Pahari miniature style: an intimate court scene with refined faces and delicate textiles; Yayāti gestures gently while speaking; pale architectural backdrop, patterned carpets, and soft atmospheric shading; cool blues and greens with restrained gold, lyrical naturalism in attendants and drapes.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat pigments; Yayāti and the king shown frontally with large eyes, elaborate crowns; stylized palace pillars and lamps; dominant reds/yellows/greens, rhythmic ornamental framing like a temple mural panel.","pichwai_prompt":"Pichwai cloth painting style: courtly scene framed by lotus and floral borders; deep blue ground with gold highlights; stylized attendants and decorative motifs; emphasis on ornament and pattern, with peacocks in the margins as auspicious symbols."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["low mridangam pulse","court ambience hush","lamp crackle","soft bell at counsel’s start"]}
Sandhi Resolution Notes: ययातिः + धर्मात्मा → ययातिर्धर्मात्मा (रेफ-संधि); तम् + उवाच → तमुवाच (स्वर-संधि); स्व + सभायाम् → स्वसभायाम् (समास/संधि); सत्य + भूषणम् → सत्यभूषणम् (समास).
FAQs
The verse describes Yayāti as dharmātmā—righteous-souled and established in dharma—resplendent in his royal assembly.
It portrays the king as truth-adorned—someone whose distinguishing virtue is truthfulness, as if truth itself were his ornament.
By foregrounding dharma (righteousness) and satya (truth), it frames the forthcoming speech as morally weighty—appropriate for a royal court and for instruction in ethical kingship.