Shloka 8
Narration of the Greatness of Harivāsara
Ekādaśī, the Day Sacred to Hari
हरेर्दिने यस्य राज्ये चैकादश्या महोत्सवः । नारायणस्य शयने पार्श्वस्य परिवर्त्तने
harerdine yasya rājye caikādaśyā mahotsavaḥ | nārāyaṇasya śayane pārśvasya parivarttane
ആരുടെ രാജ്യത്തിൽ ഹരിദിനമായ ഏകാദശിയിൽ, നാരായണൻ ശയനിച്ച് പാർശ്വം മാറുന്ന സമയത്ത്, ഏകാദശി മഹോത്സവം ആചരിക്കപ്പെടുന്നുവോ.
Unspecified in the provided excerpt (context needed to identify the dialogue frame).
Concept: A ruler’s realm is blessed when Hari’s day (Ekādaśī) is celebrated as a great festival, aligned with cosmic rhythms of Nārāyaṇa’s yogic sleep and turning (śayana/parivartana).
Application: Support community observances (temple programs, charity, kīrtana) on Ekādaśī; align personal schedules with sacred time—restraint, prayer, and service on Viṣṇu-dina.
Primary Rasa: vira
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A prosperous kingdom celebrates Ekādaśī as a grand public festival: streets washed and strewn with flowers, temple flags fluttering, and citizens carrying lamps and offerings. In the sanctum, Nārāyaṇa is depicted in yogic slumber on Śeṣa, subtly turning on His side, while the king stands with folded hands, ensuring dharma in his realm.","primary_figures":["Nārāyaṇa on Śeṣa (Yoga-nidrā)","king (māhīpati)","temple priests","citizens/devotees"],"setting":"Temple courtyard opening to a decorated city street; sanctum with reclining Viṣṇu iconography.","lighting_mood":"golden dawn","color_palette":["marigold orange","turquoise blue","saffron yellow","rose red","burnished gold"],"tanjore_prompt":"Tanjore painting style: reclining Nārāyaṇa on Ādiśeṣa with gold leaf halo; king and priests in the foreground offering ārati; festival banners and flower garlands rendered with embossed gold; rich reds/greens, jeweled ornaments, temple arch framing the scene.","pahari_prompt":"Pahari miniature style: panoramic festival in a small kingdom town; delicate figures carrying lamps; inside, a refined depiction of Śeṣa-śāyī Viṣṇu turning slightly; cool yet festive palette, lyrical architecture and trees.","kerala_mural_prompt":"Kerala mural style: Śeṣa-śāyī Viṣṇu central with bold outlines; king in añjali; stylized temple pillars and festival parasols; strong red/yellow/green blocks, mural symmetry.","pichwai_prompt":"Pichwai cloth painting style: central Śeṣa-śāyī Nārāyaṇa motif surrounded by lotus borders; rows of diyas and floral garlands as repeating patterns; devotees and the king arranged symmetrically, deep blues and gold with intricate detailing."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple drums (mṛdaṅga)","bells","conch shell","crowd murmur","kīrtana refrain"]}
Sandhi Resolution Notes: हरेः + दिने → हरेर्दिने; च + एकादश्याः → चैकादश्या (orthographic in source; analyzed as षष्ठी एकादश्याः); verse appears syntactically incomplete, continuing context implied.
FAQs
The verse highlights the public celebration of Ekādaśī as a major festival (mahotsava) in a ruler’s kingdom, framing it as a Vaishnava religious observance.
It alludes to a calendrical/ritual time associated with Viṣṇu’s divine repose (śayana) and a symbolic “turning” (pārśva-parivartana), used in Vaishnava tradition to mark sacred periods for vows and observances.
A king’s realm is implicitly praised when it supports dharmic observances—here, the collective honoring of Ekādaśī—suggesting rule aligned with devotion (bhakti) and religious duty.