Shloka 68
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
जरा पश्चात्समुत्पन्ना अश्रुभ्यो नृपसत्तम । वियोगो नाम दुर्मेधास्तेभ्यो जज्ञे प्रणाशकः
jarā paścātsamutpannā aśrubhyo nṛpasattama | viyogo nāma durmedhāstebhyo jajñe praṇāśakaḥ
હે નૃપસત્તમ, પછી તે અશ્રુઓમાંથી જરા (વૃદ્ધાવસ્થા) ઉત્પન્ન થઈ; અને એમાંથી ‘વિયોગ’ નામની દુર્મતિ વિનાશક શક્તિ જન્મી।
Unspecified (narrator addressing a king: 'nṛpasattama')
Concept: Tears of attachment beget jarā (decay) and viyoga (separation); clinging intensifies the experience of time and loss.
Application: Practice daily remembrance (nāma-japa) and offering of relationships to Hari; cultivate non-possessive love so that change does not become a ‘destroyer.’
Primary Rasa: karuna
Secondary Rasa: bibhatsa
Visual Art Cues: {"scene_description":"From the same tear-ripples, two new figures emerge: Jarā as a withered, time-marked presence with cracked skin like parched earth, and Viyoga as a pale, sharp-eyed being holding a severed garland, symbolizing broken union. They stand beside Rati, whose ornaments droop as if love itself is being drained into inevitability.","primary_figures":["Rati","Personified Jarā (Old Age)","Personified Viyoga (Separation)","Narrative king-listener (optional, seated at edge)"],"setting":"A liminal lakeshore near a celestial pleasure-grove (Rati’s domain), where beauty meets decay.","lighting_mood":"forest dappled","color_palette":["ashen beige","wilted gold","pale jasmine white","dusky rose","shadow violet"],"tanjore_prompt":"Tanjore painting style: Rati in ornate attire at the edge of a lotus pond; from tear-ripples arise Jarā, depicted with aged features and cracked-earth texture, and Viyoga holding a severed flower garland; heavy gold leaf on jewelry and borders, rich maroons and greens, stylized expressions conveying decline and rupture.","pahari_prompt":"Pahari miniature style: lyrical grove with soft foliage; Rati seated, eyes lowered; Jarā appears as a thin, time-worn figure, Viyoga as a pale, sharp silhouette with a broken garland; cool muted palette, delicate brushwork, emotional restraint and poetic symbolism.","kerala_mural_prompt":"Kerala mural style: bold outlines; Rati with characteristic large eyes; Jarā painted in earthy ochres with fissure motifs; Viyoga in pale tones with red-black accents; temple mural composition with ornamental bands and narrative clarity.","pichwai_prompt":"Pichwai cloth painting style: ornate floral border; central lotus pond with patterned ripples; symbolic figures of Jarā and Viyoga emerging like motifs; Rati framed by drooping garlands; deep indigo background with gold highlights, stylized lotuses and vines."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low drone (tanpura)","soft cymbals","wind through leaves","distant bell"]}
Sandhi Resolution Notes: paścātsamutpannā → paścāt samutpannā; durmedhāstebhyo → dur-medhāḥ tebhyaḥ (visarga sandhi resolved).
FAQs
It presents grief (tears) as a generative cause of further suffering—symbolically giving rise to old age and the destructive experience of separation—highlighting impermanence and the cascading nature of sorrow.
Because separation breaks bonds, peace of mind, and stability; in Purāṇic moral psychology it is a force that ruins contentment and can precipitate further decline in body and spirit.
The verse explicitly addresses a king (“O best of kings”), but the provided excerpt does not identify which king; the broader chapter context is needed to name the listener with certainty.