Shloka 30
Puṣkara Invocation, the Dharma-Wheel at Naimiṣa, and the Padma Purāṇa Prologue
वैन्यस्य हि पृथोर्यज्ञे वर्त्तमाने महात्मनः । मागधश्चैव सूतश्च तमस्तौतां नरेश्वरम्
vainyasya hi pṛthoryajñe varttamāne mahātmanaḥ | māgadhaścaiva sūtaśca tamastautāṃ nareśvaram
Als der großherzige Pṛthu, Sohn des Vena, sein yajña vollzog, da priesen der Māgadha und der Sūta, die Barden, jenen König der Menschen.
Narrator (Purāṇic narrator in the Sṛṣṭikhaṇḍa context; specific dialogue pair not explicit in this single verse)
Concept: Righteous kingship and yajña are upheld by truthful praise and public remembrance; social roles (Māgadha, Sūta) support dharma through stuti.
Application: Support good leadership with honest commendation; celebrate dharmic actions publicly to strengthen communal values.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A grand sacrificial arena where King Pṛthu, radiant and composed, presides over a blazing yajña fire. To one side, the Māgadha and Sūta bards sing stutis with raised hands and instruments, while priests pour ghee; the crowd witnesses dharma made visible as smoke spirals into the sky like a mantra.","primary_figures":["King Pṛthu (Vainya)","Māgadha bard","Sūta bard","ṛtvij priests","attendant nobles"],"setting":"Royal yajña-śālā with decorated pillars, banners, fire altar, ladles, ghee pots, and orderly assembly of courtiers and sages.","lighting_mood":"divine radiance","color_palette":["flame orange","royal crimson","ivory","bronze gold","midnight blue"],"tanjore_prompt":"Tanjore painting style: King Pṛthu enthroned near the yajña-kuṇḍa with a large gold halo, priests in crisp symmetry, Māgadha and Sūta in ornate garments singing praise, heavy gold leaf on flames and jewelry, rich reds/greens, gem-studded ornaments, temple-arch framing and intricate textile patterns.","pahari_prompt":"Pahari miniature style: expansive yajña courtyard with delicate architectural detail, soft smoke curls, refined faces of bards mid-song, cool sky gradients, lyrical movement in banners, restrained yet vivid palette emphasizing narrative elegance.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized flames, Pṛthu frontal and iconic, bards in dynamic singing posture, warm reds and yellows dominating, rhythmic repetition of ritual objects, mural-like clarity and ceremonial grandeur.","pichwai_prompt":"Pichwai cloth painting style: central yajña scene framed by lotus and floral borders, peacocks perched on pillars, deep blue background with gold highlights, decorative motifs around the fire altar, symmetrical arrangement of attendants, intricate textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["conch shell","drum accents","chanting of priests","fire roar","crowd murmur (soft)"]}
Sandhi Resolution Notes: पृथोर्यज्ञे = पृथोः + यज्ञे (विसर्ग-लोप/र्-सन्धि); मागधश्चैव = मागधः + च + एव; सूतश्च = सूतः + च; तमस्तौताम् = तम् + अस्तौताम् (म् + अ); अस्तौताम् लङ् प्रथमपुरुष द्विवचन (द्वौ कर्तारौ: मागधः, सूतः)।
FAQs
They are traditional court-bards and genealogist-praisers: the Māgadha is associated with panegyric praise, and the Sūta is a bard/charioteer class known for reciting lineages and heroic deeds.
The verse frames Pṛthu as a righteous king whose sacrificial performance represents orderly kingship (rājadharma) and the restoration of prosperity and cosmic order.
It highlights that public recognition is ideally directed toward dharmic leadership—praise is portrayed as appropriate when grounded in virtue, duty, and the welfare of the people.