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
「功徳に満ちたあらゆる世界よ、我と共に来たれ。」こうして王は、そのカーマの乙女と共に車に乗り込んだ。
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.