Shloka 21
The Story of Yayāti: Indra and Dharmarāja on Vaiṣṇava Dharma and the ‘Heavenizing’ of Earth
मकरंदं रतिं देव आनिनाय महामनाः । तथा कुरुत वै यूयं यथाऽगच्छति भूपतिः
makaraṃdaṃ ratiṃ deva ānināya mahāmanāḥ | tathā kuruta vai yūyaṃ yathā'gacchati bhūpatiḥ
ឱ ព្រះអម្ចាស់! អ្នកមានចិត្តធំបាននាំមករាន់ទ និងរាតិមកហើយ។ ដូច្នេះ អ្នកទាំងអស់គ្នាចូរធ្វើឲ្យបានដូច្នោះ ដើម្បីឲ្យព្រះមហាក្សត្រមកដល់ទីនេះ។
Unspecified (context-dependent within Bhūmi-khaṇḍa narration)
Concept: Providence works through coordinated effort; righteous leadership is ‘invited’ by aligning circumstances.
Application: When seeking a good outcome, prepare conditions and cooperate ethically rather than relying on chance.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: celestial_realm
Visual Art Cues: {"scene_description":"In a jeweled celestial corridor, messengers announce that Makaranda and Rati have been brought before a radiant lord. Attendants lean in, whispering strategy, as the air shimmers with perfume and the sense that a mortal king is being drawn toward destiny.","primary_figures":["Kāma","Rati","Makaranda","celestial attendants","a presiding deva (unspecified)"],"setting":"Celestial court antechamber with lotus-carved pillars, garlanded arches, and drifting incense clouds","lighting_mood":"divine radiance","color_palette":["lotus pink","saffron gold","pearl white","emerald green","midnight blue"],"tanjore_prompt":"Tanjore painting style: a celestial court scene where Kāma’s entourage presents Makaranda and Rati to a presiding deva; gold leaf halos, embossed lotus pillars, rich crimson and emerald textiles, gem-studded ornaments, stylized South Indian iconography, ornate archways and hanging garlands, subtle incense swirls rendered in gold.","pahari_prompt":"Pahari miniature style: delicate celestial pavilion with slender pillars and flowering vines; Kāma’s attendants gesture toward Makaranda and Rati; cool blues and soft pinks, refined faces, lyrical clouds, fine linework, a distant horizon suggesting the pull toward Bhūrloka.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; divine court with lotus motifs; Kāma, Rati, and Makaranda in frontal poise, large expressive eyes, red-yellow-green palette, patterned borders like temple wall fresco.","pichwai_prompt":"Pichwai cloth painting style: ornate lotus borders and floral creepers framing a divine assembly; deep indigo background with gold highlights; figures arranged symmetrically, peacocks and blossoms as auspicious motifs, emphasis on devotional ornamentation though the scene is courtly."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft conch shell","temple bells","whispered court murmurs","distant veena drone"]}
Sandhi Resolution Notes: yathā'gacchati = yathā + āgacchati (ā- elided in writing with avagraha).
FAQs
They appear here as proper names; the verse states they have been brought by a “great-souled” person, but further identification depends on the surrounding narrative of Bhūmi-khaṇḍa 76.
It directs a group (“you all”) to arrange or act appropriately so that the king (bhūpati) will come/arrive.
It emphasizes coordinated, purposeful action—organizing one’s conduct to accomplish a desired and legitimate objective (here, ensuring the king’s arrival).