Shloka 17
Yayāti, Yadu’s Refusal, and the Merit of the Mother–Father Tīrtha
बुभुजे चारुसर्वांगी पुण्यान्भोगान्मनोनुगान् । एवं कालो गतस्तस्य ययातेस्तु महात्मनः
bubhuje cārusarvāṃgī puṇyānbhogānmanonugān | evaṃ kālo gatastasya yayātestu mahātmanaḥ
Die anmutige, wohlgestaltete Frau genoss verdienstvolle Freuden, die dem Geist gefielen. So verging die Zeit für den großherzigen Yayāti.
Narrator (contextual; specific dialogue speaker not identifiable from the single verse alone)
Concept: Even refined pleasures are framed as puṇya-bhoga and are still subject to kāla (time), which moves all embodied experience onward.
Application: Enjoyments should be held with awareness of impermanence; convert prosperity into dāna, seva, and remembrance of Viṣṇu so time does not pass in mere consumption.
Primary Rasa: shringara
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"In a jeweled palace chamber perfumed with sandal and agaru, a graceful, well-proportioned queen reclines beside King Yayāti, enjoying refined pleasures that shimmer with the aura of earned merit. Outside the latticed windows, seasons subtly shift—flowers fading into new blooms—signaling kāla’s quiet passage over royal delight.","primary_figures":["King Yayāti","the lovely queen/consort (unnamed)","attendant women (optional)"],"setting":"royal palace interior with carved pillars, silk canopies, lotus motifs, and a distant glimpse of gardens","lighting_mood":"temple lamp-lit","color_palette":["lotus pink","saffron gold","emerald green","ivory white","deep maroon"],"tanjore_prompt":"Tanjore painting style: King Yayāti seated on a gem-inlaid throne beside a graceful queen, both adorned with heavy gold jewelry; palace archways filled with lotus and creeper motifs; gold leaf halos and embossed ornaments; rich reds and greens, pearl highlights, traditional South Indian iconographic symmetry, subtle depiction of time via a small hourglass/seasonal garland in the border.","pahari_prompt":"Pahari miniature style: an intimate palace scene of Yayāti and his consort on a white terrace with delicate textiles; refined facial features, lyrical naturalism; a garden with flowering trees transitioning in the background to suggest passing time; cool shadows, soft pinks and greens, fine brushwork and patterned carpets.","kerala_mural_prompt":"Kerala mural style: bold black outlines and warm natural pigments; Yayāti and queen in frontal three-quarter pose under a stylized palace canopy; ornate jewelry, large expressive eyes; red-yellow-green palette with lotus borders; a symbolic wheel of time (kāla-cakra) faintly behind them.","pichwai_prompt":"Pichwai cloth painting style: palace-garden hybrid with abundant lotus borders and floral vines; central pair (Yayāti and consort) framed by ornate arches; peacocks and cows in the garden as auspicious motifs; deep indigo background with gold detailing, intricate textile patterns and symmetrical composition."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["soft ankle-bells","palace hush","distant veena","night insects","gentle conch in far temple"]}
Sandhi Resolution Notes: bubhuje cārusarvāṃgī = bubhuje cāru-sarvāṅgī; puṇyānbhogānmanonugān = puṇyān bhogān mano'nugān (manas + anuga); gatastasya = gataḥ tasya; yayātestu = yayāteḥ tu.
FAQs
Yayāti is a famed king in Purāṇic and epic tradition, often associated with narratives about kingship, enjoyment (bhoga), and the passage of time (kāla).
It describes the enjoyment of desirable, “meritorious” pleasures and emphasizes that time continues to pass for Yayāti—hinting at the transience of worldly enjoyment.
Indirectly, yes: by foregrounding enjoyment alongside the statement that time passes, it supports a common Purāṇic reflection that pleasures are temporary and life moves inevitably onward.