Shloka 54
Vision of Nandana Grove: The Glory of the Wish-Fulfilling Tree and the Birth of Aśokasundarī
लज्जाभियुक्तः सहसा बभूव जलं समाश्रित्य सदैव तिष्ठति । कतिमतिनियतबुद्ध्यासौ धियो वदंति सुमदननृपतेः कोशं समुद्र कलाभिः
lajjābhiyuktaḥ sahasā babhūva jalaṃ samāśritya sadaiva tiṣṭhati | katimatiniyatabuddhyāsau dhiyo vadaṃti sumadananṛpateḥ kośaṃ samudra kalābhiḥ
Diliputi rasa malu, ia seketika menjadi demikian; berlindung pada air, ia senantiasa tinggal di sana. Orang-orang yang berakal tertib berkata: harta simpanan Raja Sumadana luas dan beraneka, laksana bagian-bagian samudra.
Unclear from single-verse context (Bhūmi-khaṇḍa commonly framed as Pulastya speaking to Bhīṣma, but not confirmable from this excerpt alone).
Concept: Shame (lajjā) can drive withdrawal and concealment; disciplined minds interpret worldly treasure as oceanic—vast, divisible, and difficult to exhaust—hinting at the ethical question of attachment and secrecy.
Application: When shame arises, choose accountability over hiding; treat wealth as stewardship—portion it for charity, worship, and dependents rather than hoarding.
Primary Rasa: karuna
Secondary Rasa: bhayanaka
Type: river
Visual Art Cues: {"scene_description":"A figure, head bowed in shame, slips into the dark-blue ocean, half-submerged among rolling waves, as if choosing water as a veil. In the distance, attendants whisper about King Sumadana’s treasury, imagined as countless shimmering ‘portions’ like the ocean’s many facets.","primary_figures":["shame-struck figure (unnamed)","King Sumadana (implied, regal silhouette)","whispering courtiers/sages (disciplined observers)"],"setting":"storm-quiet seashore with moonlit waves; distant palace lights on a cliff","lighting_mood":"moonlit with brooding undertone","color_palette":["deep marine blue","slate gray","silver","sea-green","dim amber"],"tanjore_prompt":"Tanjore painting style: dramatic seashore tableau with stylized waves, the ashamed figure entering water; distant kingly palace with gold leaf highlights, ornate borders; ocean rendered with layered blues and silver accents, jewelry and treasury motifs hinted as gem-like sparkles in the water.","pahari_prompt":"Pahari miniature style: lyrical coastline with fine wave patterns, subdued moonlight, the figure’s posture conveying shame; distant palace and tiny observers; cool palette, delicate brushwork, atmospheric depth.","kerala_mural_prompt":"Kerala mural style: bold wave spirals, strong outlines, expressive eyes downcast; ocean as patterned bands, palace as flat decorative geometry; traditional pigments with high contrast and narrative clarity.","pichwai_prompt":"Pichwai cloth painting style: ocean depicted as repeating scalloped motifs with embedded gem patterns symbolizing ‘kośa’; central figure half-submerged; ornate border of conch and wave motifs, deep blues with gold highlights."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["ocean surf","low drum pulse","shell wind","distant bell","brief silence after key words"]}
Sandhi Resolution Notes: lajjābhiyuktaḥ = lajjā + abhiyuktaḥ; tasyā mukhādvāti (in prior verse) pattern similar; Verse 102.54 second pāda appears textually irregular: 'samudra kalābhiḥ' likely intended as a compound or with missing case endings; analysis given per surface forms.
FAQs
This verse names “Sumadana-nṛpati” (King Sumadana) in connection with a famed “kośa” (treasury). Without surrounding verses, his full narrative role and identity in the chapter cannot be stated with certainty.
The imagery suggests a person so overwhelmed by remorse or embarrassment that he withdraws and seeks concealment/purification in water—pointing to shame as a catalyst for retreat, self-correction, or penance.
By comparing the treasury to the ocean’s ‘parts’ or measures, the verse implies vastness and multiplicity—wealth as expansive and difficult to quantify, much like the sea.