Shloka 113
Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy
अयमश्वोपि नारीत्वमगाद्राज्ञा सहैव तु । इलः पुरुषतामेति यथासौ धनदोपमः
ayamaśvopi nārītvamagādrājñā sahaiva tu | ilaḥ puruṣatāmeti yathāsau dhanadopamaḥ
Auch dieses Pferd erlangte sogleich zusammen mit dem König das Frausein. Und Ilā wurde wieder ein Mann, gleich jenem, der Kubera, dem Herrn des Reichtums, vergleichbar ist.
Narrator (contextual Purāṇic narration; specific dialogue speaker not explicit from the single verse)
Concept: Embodiment is mutable under divine ordinance and karma; identity can be restored or altered according to higher law.
Application: Do not over-identify with transient roles; cultivate steadiness and ethical action amid change.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: forest
Visual Art Cues: {"scene_description":"A royal procession halts at the grove’s edge: the king and his horse are caught in a moment of shimmering transformation, garments and ornaments subtly shifting to feminine forms. In a secondary vignette, Ilā stands restored to manhood, radiant and composed, with a Kubera-like aura of prosperity hinted through overflowing treasure motifs.","primary_figures":["the king (unnamed in verse)","the horse","Ilā (transitioning/restored)","attendants and guards"],"setting":"forest threshold with royal banners, a small reflective pond, and distant shrine silhouettes","lighting_mood":"divine radiance breaking through canopy, like a sudden revelation","color_palette":["royal crimson","burnished gold","leaf green","pearl white","midnight blue"],"tanjore_prompt":"Tanjore painting style: split-panel narrative—left shows king and horse mid-transformation at a forest threshold, right shows Ilā restored, adorned with gold ornaments; heavy gold leaf on crowns, jewelry, and shrine elements; rich reds/greens, ornate borders, stylized foliage.","pahari_prompt":"Pahari miniature style: continuous narrative across a single landscape—procession, pond reflection showing altered forms, and Ilā’s restored figure; delicate faces, fine textiles, cool greens and blues, subtle storytelling details like attendants whispering in awe.","kerala_mural_prompt":"Kerala mural style: iconic figures with bold outlines; transformation suggested through dual-color garments and mirrored silhouettes; strong red/yellow/green palette, temple-wall composition with decorative bands and simplified forest motifs.","pichwai_prompt":"Pichwai cloth painting style: ornate border with lotus and creepers; central scene of transformation framed by peacocks and floral medallions; Ilā’s restored form highlighted with gold detailing; deep indigo background, intricate textile patterning, narrative cartouches."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["murmuring crowd","horse snort fading into silence","wind through leaves","soft drum pulse","conch accent at the moment of change"]}
Sandhi Resolution Notes: अयमश्वोपि = अयम् + अश्वः + अपि; नारीत्वमगात् = नारीत्वम् + अगात्; अगाद्राज्ञा = अगात् + राज्ञा (त् + र → द्र); सहैव = सह + एव; पुरुषतामेति = पुरुषताम् + एति; यथासौ = यथा + असौ.
FAQs
It states that the horse and the king simultaneously became female, and that Ila later returned to a male state—indicating a miraculous transformation episode within the Ila narrative.
“Dhanada” is Kubera, the giver/lord of wealth. The verse uses him as a comparison (“dhanadopamaḥ”), suggesting someone is being described as Kubera-like—i.e., illustrious or eminent.
They are often read as illustrating the supremacy of divine law and karma over bodily identity, and the impermanence of worldly conditions—encouraging detachment and humility.