Shloka 8
The Yayāti Episode
with the Glory of Mātā–Pitṛ Tīrtha
राजोवाच । आगता नर्तकाः पूर्वं पुरं मे हि प्रनर्तकाः । तेभ्यो मे कामसंमोहे जातो मोहश्च ईदृशः
rājovāca | āgatā nartakāḥ pūrvaṃ puraṃ me hi pranartakāḥ | tebhyo me kāmasaṃmohe jāto mohaśca īdṛśaḥ
Raja berkata: “Dahulu para penari datang ke kotaku—mereka sungguh para pelaku seni yang mahir. Dari merekalah, di tengah kabut nafsu, timbul delusi seperti ini dalam diriku.”
The King (rājā)
Concept: Kāma-born moha (delusion) arises through sense-contact and can eclipse discernment even in the powerful; confession is the first step toward correction.
Application: Notice triggers (entertainment, flattery, novelty) that amplify craving; pause, name the delusion, and redirect attention to japa, śāstra-reading, or service before acting.
Primary Rasa: karuna
Secondary Rasa: shringara
Type: city
Visual Art Cues: {"scene_description":"Inside a jeweled royal sabhā, the king speaks with lowered gaze, confessing how the arrival of expert dancers stirred desire and clouded his mind. In the background, dancers pause mid-gesture, their anklets and silk veils catching lamplight, while courtiers watch in uneasy silence.","primary_figures":["the King (rājā)","court dancers (nartakāḥ)","silent courtiers/ministers"],"setting":"royal assembly hall with carved pillars, lotus motifs, and a performance space at the center","lighting_mood":"temple lamp-lit","color_palette":["deep maroon","antique gold","sandalwood beige","emerald green","lamp-flame amber"],"tanjore_prompt":"Tanjore painting style: a remorseful king seated on a lotus-carved throne in a palace sabhā, dancers with ornate jewelry and flowing silk frozen in a graceful pose, heavy gold-leaf embellishment on pillars and throne, rich reds and greens, gem-studded ornaments, traditional South Indian iconography, intricate floral borders and halo-like aureoles around key figures.","pahari_prompt":"Pahari miniature style: an intimate palace interior with delicate brushwork, the king speaking softly to advisors, dancers in the background with restrained elegance, cool yet rich palette with lyrical naturalism, refined faces, patterned carpets, arched windows opening to a twilight garden.","kerala_mural_prompt":"Kerala mural style: bold black outlines, the king in profile with expressive eyes and restrained sorrow, dancers with stylized postures and elaborate costumes, temple-wall aesthetic, natural pigments dominated by red/yellow/green, ornamental lotus borders and rhythmic architectural bands.","pichwai_prompt":"Pichwai cloth painting style: a palace scene framed by lotus and floral borders, stylized dancers and the king at center, deep blues and gold accents, peacock motifs along the margins, intricate textile patterns; subtle Vaishnava symbols (conch/discus motifs) woven into the border to hint at dharma’s call."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft ankle-bells fading","temple bells distant","murmur of court","brief silence after confession"]}
Sandhi Resolution Notes: राजोवाच = राजा + उवाच; सुसंपत्तिर्धनं pattern not here; कामसंमोहे = kāma + saṃmohe (तत्पुरुष); मोहश्च = मोहः + च; 'me' after tebhyaḥ is genitive/dative-like usage indicating 'in me' contextually.
FAQs
It identifies kāma (desire) as a cause of saṃmoha (confused infatuation), which then produces moha (delusion), showing how sense-attraction can cloud judgment.
The speaker is the King, and he admits that his present delusion arose due to desire-triggered confusion connected with the arrival of dancers in his city.
The verse encourages self-awareness and restraint: recognizing how desire can escalate into delusion is the first step toward correcting one’s conduct and regaining discernment.