Shloka 18
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
राजोवाच । यस्ते जनिष्यते पुत्रस्तस्य भार्या भविष्यति । तस्याः सा तपसोग्रेण कन्यायाः संप्रसूयत
rājovāca | yaste janiṣyate putrastasya bhāryā bhaviṣyati | tasyāḥ sā tapasogreṇa kanyāyāḥ saṃprasūyata
ರಾಜನು ಹೇಳಿದನು— “ನಿನಗೆ ಜನಿಸುವ ಪುತ್ರನಿಗೆ ಇವಳು ಪತ್ನಿಯಾಗುವಳು. ಮತ್ತು ಆ ಕನ್ಯೆಯಿಂದ, ಘೋರ ತಪಸ್ಸಿನ ಬಲದಿಂದ, ಇವಳು ಸಂತಾನವನ್ನು ಪ್ರಸವಿಸುವಳು.”
The King (rājā)
Concept: Tapas and dharmic marriage are presented as instruments through which destined lineages unfold.
Application: Treat commitments (marriage, vows, responsibilities) as sacred duties; cultivate disciplined effort (tapas) to support long-term, generational good.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A royal court scene where the king speaks a solemn prophecy: a future son’s destined marriage and a maiden’s childbirth through fierce austerity. In the background, a young ascetic maiden performs tapas—standing still amid wind and fire—hinting at the unseen power shaping dynasties.","primary_figures":["Rājā (king)","Queen or royal interlocutor (implied)","Ascetic maiden (kanyā) performing tapas (symbolic)"],"setting":"Ancient palace audience hall opening to a distant hermitage vista; pillars, carved lotus motifs, and a far-off forest grove where austerities occur.","lighting_mood":"temple lamp-lit transitioning into divine radiance over the hermitage","color_palette":["antique gold","deep maroon","sandalwood beige","smoky ash gray","lotus pink"],"tanjore_prompt":"Tanjore painting style: a king seated on a jeweled throne in a lotus-carved court, right hand raised in declarative gesture; behind him a symbolic vignette of an ascetic maiden performing severe tapas near a small sacred fire; heavy gold leaf halos, rich reds and greens, gem-studded ornaments, ornate archways, traditional South Indian iconography and patterned textiles.","pahari_prompt":"Pahari miniature style: intimate palace interior with delicate linework; the king speaking softly yet decisively; through an open balcony a distant forest hermitage shows a maiden in tapas beside a thin plume of smoke; cool natural palette, refined faces, lyrical trees and hills, subtle shading.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the king in regal posture, stylized lotus pillars; a secondary panel-like depiction of the tapasvini maiden with a small agni; characteristic large eyes, red-yellow-green palette, temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: narrative framed by lotus borders; central royal court with decorative floral motifs; side medallion shows the tapasvini maiden; deep indigo background with gold detailing, intricate vines and lotuses, symmetrical ornamentation reminiscent of Nathdwara textiles."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft court ambience","distant sacrificial fire crackle","low temple bell","brief silence after prophecy"]}
Sandhi Resolution Notes: rājā uvāca → rājovāca; yaḥ te → yaste; putraḥ tasya → putrastasya; tapasaḥ agreṇa → tapasogreṇa.
FAQs
It frames a prophetic sequence of lineage: a son will be born, a destined marriage will occur, and a further birth will follow through the power of austerity (tapas).
Tapas is presented as an effective spiritual force capable of enabling or intensifying outcomes like conception and birth, aligning with Purāṇic themes of ascetic power.
The verse implies a worldview where destiny and moral-spiritual effort coexist: future events are foretold, yet austerity is highlighted as a potent agency within that unfolding.