Shloka 44
उपगीयमानो ललितं तत्र तत्र च गायकै: । क्रीडन् परिवृत: स्त्रीभिर्ह्रदिनीमाविशच्छुचौ ॥ ४४ ॥
upagīyamāno lalitaṁ tatra tatra ca gāyakaiḥ krīḍan parivṛtaḥ strībhir hradinīm āviśac chucau
Here and there, skilled singers sweetly sang of King Purañjana’s fame and noble deeds. When the summer heat grew intense, he would enter a cool reservoir, surrounded by many women, and take pleasure in their company.
A living being has different activities in different stages of life. One stage is called jāgrata, or the life of awakening, and another is called svapna, or the life of dream. Another stage is called susupti, or life in an unconscious state, and still another stage occurs after death. In the previous verse the life of awakening was described — that is, the man and the woman were married and enjoyed life for one hundred years. In this verse life in the dream state is described, for the activities Purañjana accomplished during the day were also reflected at night in the dream state. Purañjana used to live with his wife for sense enjoyment, and at night this very sense enjoyment was appreciated in different ways. A man sleeps very soundly when he is greatly fatigued, and when a rich man is greatly fatigued he goes to his garden house with many female friends and there enters the water and enjoys their company. Such is the tendency of the living entity within this material world. A living entity is never satisfied with a woman unless he is trained in the system of brahmacarya. Generally a man’s tendency is to enjoy many women, and even at the very end of life the sex impulse is so strong that even though one is very old he still wants to enjoy the company of young girls. Thus because of the strong sex impulse the living entity becomes more and more involved in this material world.
FAQs
This verse depicts Purañjana being entertained by singers and surrounded by women, then entering a lake for pleasure—illustrating how the conditioned soul is drawn into refined, enjoyable settings that deepen absorption in sense gratification.
In the allegory narrated for spiritual instruction, these details highlight the mind’s attraction to pleasure and prestige, showing how such delights keep one engaged in bodily identification rather than self-realization.
It encourages mindful restraint: notice how entertainment and social pleasures can pull awareness outward, and intentionally redirect time and attention toward sādhana, prayer, and service to cultivate inner purity.