Shloka 106
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
तुरुं पूरुं कुरुं राजा यदुं च पितृवत्सलम् । कुरुध्वं पुत्रकाः सौख्यं यूयं हि मम शासनात्
turuṃ pūruṃ kuruṃ rājā yaduṃ ca pitṛvatsalam | kurudhvaṃ putrakāḥ saukhyaṃ yūyaṃ hi mama śāsanāt
ກະສັດກ່າວວ່າ: “ຈົ່ງເຮັດໃຫ້ ຕຸຣຸ, ປູຣຸ, ກຸຣຸ ແລະ ຢະດຸ—ຜູ້ກະຕັນຍູຕໍ່ບິດາ—ຈະເລີນຮຸ່ງເຮືອງ. ລູກເອີຍ, ຈົ່ງຮັກສາຄວາມສຸກສະບາຍຂອງເຈົ້າ, ເພາະເຈົ້າປະພຶດຕາມຄໍາສັ່ງຂອງຂ້າ”
A king (father addressing his sons; specific identification not provided in the given excerpt)
Concept: Pitṛ-ājñā (a father’s command) and rājarṣi-style governance are to be upheld for the welfare (saukhyam) of the family and realm.
Application: Honor legitimate responsibilities to elders/mentors; use authority to secure others’ well-being rather than personal indulgence.
Primary Rasa: vira
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A crowned king seated on a lion-throne gestures with an open palm, issuing a measured command to his assembled sons. Behind them, court banners bear subtle emblems hinting at future dynasties—Yadu’s crescent, Kuru’s plough, Puru’s standard—while ministers and priests witness the transmission of duty.","primary_figures":["a king (rājā)","the princes (putrāḥ)","court purohita","ministers"],"setting":"royal sabhā (court hall) with carved pillars, ritual fire niche, and dynastic standards","lighting_mood":"temple lamp-lit","color_palette":["burnished gold","deep maroon","sandalwood beige","emerald green","indigo"],"tanjore_prompt":"Tanjore painting style: a regal king on a gold-embossed throne commanding his sons in a palace sabhā, heavy gold leaf halos and arch motifs, rich reds and greens, gem-studded crowns, stylized South Indian ornamentation, intricate floral borders, sacred fire alcove in the background.","pahari_prompt":"Pahari miniature style: a refined court scene with the king addressing four to five princes, delicate brushwork, cool yet luminous palette, patterned textiles, slender figures with expressive eyes, distant palace terraces and a pale sky, lyrical restraint and narrative clarity.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments, the king with large stylized eyes and ornate crown, princes in traditional attire, palace pillars with lotus motifs, warm red-yellow-green dominance, sacred aura implied through symmetrical composition.","pichwai_prompt":"Pichwai cloth painting style: courtly tableau framed by lotus and creeper borders, deep blue background with gold highlights, stylized peacocks at corners, the king and sons rendered with devotional symmetry, ornamental textiles and floral motifs echoing Vaishnava aesthetics."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft court drums","temple bells in distance","murmur of assembly","conch shell (faint)"]}
Sandhi Resolution Notes: पितृवत्सलम् (compound); कुरुध्वं (no sandhi); शासनात् (ablative).
FAQs
They are personal names used as lineage markers in royal-genealogical contexts—figures associated with dynastic descent (notably Pūru, Kuru, and Yadu in broader Itihāsa-Purāṇa tradition). The verse frames them as heirs/lines to be established in prosperity.
It presents the king’s duty as ordering the stable establishment and welfare of heirs/lineages, and it presents the sons’ duty as carrying out that mandate—linking prosperity (saukhyam) to rightful authority (śāsana) and family responsibility.
Pitṛvatsalam highlights filial devotion: prosperity and social order are portrayed as grounded in respect for one’s father/elders and in dutiful obedience within the family and kingdom.