Shloka 15
Yayāti’s Ascent to Heaven
and Entry into Vaikuṇṭha
आगच्छंतु मया सार्द्धं सर्वे लोकाः सुपुण्यकाः । नृपो रथं समारुह्य तया वै कामकन्यया
āgacchaṃtu mayā sārddhaṃ sarve lokāḥ supuṇyakāḥ | nṛpo rathaṃ samāruhya tayā vai kāmakanyayā
«Que vengan conmigo todos los mundos colmados de mérito.» Así, el rey subió al carro junto con aquella doncella de Kāma.
Narrator (context not provided to securely identify Pulastya–Bhīṣma or Śiva–Pārvatī)
Concept: Merit (puṇya) is portrayed as a collective field: the king invites all ‘worlds’ or all people of merit to participate in the auspicious undertaking.
Application: Invite others into wholesome practices—pilgrimage, charity, worship—so virtue becomes shared rather than private.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"The king, radiant with resolve, calls for all the meritorious to accompany him as a wondrous maiden—Kāma-kanyā—stands beside the chariot like embodied auspiciousness. The chariot platform gleams, and the crowd’s faces reflect a sense that this journey crosses ordinary boundaries into a more luminous realm.","primary_figures":["the king (nṛpa)","Kāma-kanyā (personified maiden of desire/auspicious charm)","meritorious followers (supuṇyakāḥ)"],"setting":"palace gate opening onto a broad ceremonial road that subtly dissolves into a celestial horizon","lighting_mood":"divine radiance","color_palette":["moonstone white","champagne gold","coral red","turquoise","violet dusk"],"tanjore_prompt":"Tanjore painting style: the king stepping onto a richly ornamented chariot, Kāma-kanyā beside him with graceful stance and jeweled attire; gold leaf on chariot rails and halos, rich reds/greens, gem-studded ornaments, auspicious motifs (lotus, conch) worked into borders, celebratory attendants in symmetrical rows.","pahari_prompt":"Pahari miniature style: lyrical departure scene with delicate brushwork; the maiden’s refined features and flowing veil, the king’s poised gesture inviting all; soft gradients in the sky suggesting transition from earthly road to celestial distance, cool mountain-like blues and violets balancing warm gold accents.","kerala_mural_prompt":"Kerala mural style: bold outlines, the king and maiden in iconic poses on the chariot; saturated reds/yellows/greens, stylized floral patterns on garments, rhythmic crowd forms; a temple-wall aesthetic where the road becomes a symbolic band leading upward.","pichwai_prompt":"Pichwai cloth painting style: ornate chariot departure framed by lotus borders; deep blue ground with gold highlights, peacocks and floral vines; the maiden and king centered, attendants arranged like a devotional procession, intricate textile patterns and auspicious symbols woven throughout."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["conch shell","processional drums","anklets and bangles","crowd acclamation"]}
Sandhi Resolution Notes: आगच्छंतु (पाठे ‘आगच्छन्तु’); कामकन्यया इति समास/नाम; अन्यत्र सन्धिः न्यूनः।
FAQs
The verse names a kāmakanyā—literally a “desire(-related) maiden.” Without more surrounding verses, she can be read as a personified figure connected to kāma (desire) accompanying the king on a chariot.
It is a poetic hyperbole suggesting an all-encompassing, auspicious movement—either that the king’s action has cosmic reach, or that all meritorious beings/realms are being summoned to witness or participate.
By foregrounding “supuṇyakāḥ” (rich in merit), the verse links movement/journey with moral-spiritual qualification, hinting that one’s actions and companions are framed by puṇya (merit) rather than mere power.