Shloka 72
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
मूर्तिमंतो महाराज सद्भावगुणसंयुताः । काम एष समायातः केनाप्युक्तं तदा नृप
mūrtimaṃto mahārāja sadbhāvaguṇasaṃyutāḥ | kāma eṣa samāyātaḥ kenāpyuktaṃ tadā nṛpa
हे महाराज, सद्भाव और गुणों से युक्त यह कामदेव मूर्तिमान होकर प्रकट हुआ है—उस समय किसी के द्वारा आहूत किया गया, हे नृप।
Unclear from single-verse context (addressing a king, likely within a narrator-to-king dialogue)
Concept: Even subtle forces (desire) can manifest tangibly when invoked; therefore a ruler must govern impulses through discernment and virtue.
Application: Treat desire as a ‘summoned guest’: notice what calls it forth (saṅga, saṅkalpa), then redirect it into constructive vows, service, and self-restraint.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"In a royal sabhā, a luminous, youthful Kāma appears as if summoned by an unseen mantra—his form half-ethereal, half-embodied, stepping from a swirl of perfumed wind. The king and courtiers, adorned yet composed, watch with awe as lotus petals drift through the air, hinting at cosmic causality behind human emotion.","primary_figures":["Kāma (personified desire)","a dhārmic king (mahārāja)","court sages/ministerial attendants"],"setting":"pillared palace hall with carved lotuses, incense braziers, and a distant view of a river terrace beyond the arches","lighting_mood":"temple lamp-lit with sudden divine radiance around Kāma","color_palette":["sapphire blue","lotus pink","antique gold","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: Kāma appearing in a royal sabhā before a mahārāja, haloed with gold leaf radiance; ornate pillars with lotus carvings, rich red and green textiles, gem-studded ornaments, stylized faces, thick gold outlines, and embossed gold leaf around Kāma’s aura and the king’s crown.","pahari_prompt":"Pahari miniature style: a refined palace court scene with delicate brushwork; Kāma’s arrival shown as a soft spiral of fragrance and petals, cool pastel architecture, lyrical expressions of wonder on the king and attendants, fine jewelry details, and a distant river terrace framed by arches.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Kāma with characteristic large eyes and floral motifs, the king seated in formal posture, lamp-lit palace interior, red-yellow-green dominant palette, decorative borders with lotus and creepers.","pichwai_prompt":"Pichwai cloth painting style: a symbolic court tableau where lotus motifs and floral borders dominate; Kāma’s aura rendered as concentric lotus rings, deep indigo background with gold highlights, peacocks at the margins, intricate vine patterns framing the king’s dais."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridanga pulse","temple bells","incense crackle","hushed court ambience"]}
Sandhi Resolution Notes: केनाप्युक्तम् = केन + अपि + उक्तम्; समायातः (सम्+आ+यातः).
FAQs
Here ‘Kāma’ can denote the deity Kāma (Cupid) as well as the principle of desire; the phrase “mūrtimantaḥ/embodied” supports the sense of a personified deity appearing in form.
It indicates Kāma’s arrival is not random but prompted—someone invoked or requested his presence, suggesting a narrative setup for temptation, testing, or a plot involving desire.
It frames the addressed king (or those being described) as virtuous and well-intentioned, implying that the forthcoming encounter with Kāma concerns how virtue engages with desire—through restraint, discernment, or rightful conduct.