Shloka 86
The Establishment of Vāmana at Kānyakubja and the Sanctification of Setu
हत्वा तु पापकर्माणं दत्ता पूर्वं पुरी मम । इयं पुरी इमे दारा अमी पुत्रास्तथा ह्यहं
hatvā tu pāpakarmāṇaṃ dattā pūrvaṃ purī mama | iyaṃ purī ime dārā amī putrāstathā hyahaṃ
„Nachdem der Sünder erschlagen war, wurde mir einst meine Stadt zurückgegeben. Dies ist jene Stadt; dies sind meine Frauen; jene sind meine Söhne — und dies bin ich, wahrlich.“
Unspecified (contextual narrator/character within Adhyaya 38; not identifiable from the single verse alone)
Concept: When adharma is removed, rightful order—kingdom, family, and selfhood—returns and stabilizes.
Application: Repair what was harmed by wrongdoing: restore responsibilities, relationships, and ethical order rather than clinging to the trauma of loss.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: city
Visual Art Cues: {"scene_description":"A newly restored king stands at the threshold of his reclaimed city, pointing as if naming each recovered treasure of life—ramparts, palace, wives, and sons—while attendants look on in awe. The atmosphere is one of solemn relief: the shadow of the slain wrongdoer has lifted, and the city’s banners rise again in calm wind.","primary_figures":["Restored king (unnamed)","Queens (dārāḥ)","Princes (putrāḥ)","City elders and attendants"],"setting":"Palace gate and city avenue with re-hoisted standards, lotus ponds, and returning citizens","lighting_mood":"golden dawn","color_palette":["burnished gold","lotus pink","sandalwood beige","emerald green","deep maroon"],"tanjore_prompt":"Tanjore painting style: the restored king at a palace gateway, right hand raised in a gesture of recognition, queens and princes beside him, ornate archways and temple-like pillars behind; heavy gold leaf embellishment on crowns, jewelry, and city banners; rich reds and greens, gem-studded ornaments, symmetrical South Indian iconography, lotus motifs along the border.","pahari_prompt":"Pahari miniature style: a lyrical city return scene with delicate brushwork—king identifying his city and family, soft pastel architecture, slender figures with refined faces; distant hills and flowering trees, cool morning haze, intricate textiles, gentle narrative realism.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; the king centered with stylized wide eyes, queens and sons in formal poses, palace walls with floral creepers; dominant red/yellow/green palette, temple-wall aesthetic, rhythmic ornamentation.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial homecoming tableau framed by intricate floral borders and lotus motifs; attendants holding lamps and banners, palace courtyard with stylized lotuses; deep blues and gold accents, devotional symmetry, ornate textile patterns."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","distant conch shell","city murmurs","flag cloth flutter","gentle drum (mṛdaṅga)"]}
Sandhi Resolution Notes: पुत्रास्तथा = पुत्राः तथा; ह्यहं = हि अहम्. श्लोके ‘दत्ता’ इति क्त-रूपं लुप्त-क्रियापदेन (अस्मि/अभवत्) सह बोध्यम्।
FAQs
It frames a moral logic of governance: removing a harmful, sinful agent restores rightful order—symbolized by the return of one’s city, family, and identity.
Not explicitly. It focuses more on dharma and the restoration of rightful life after dealing with wrongdoing, though such themes can be integrated into broader Purāṇic religious ethics.
The speaker cannot be reliably identified from the verse alone; the surrounding verses in Adhyaya 38 are needed to determine whether it is a king, a narrator, or a dialogue participant.