Shloka 26
Origin of the Lunar Dynasty: Soma’s Rise, the Tārā Abduction War, Budha–Purūravas Genealogy, and Kārtavīrya Arjuna
चिरं विहृत्याथ जगाम तारां विधुर्गृहीत्वा स्वगृहं ततोपि । न तृप्तिरासीत्स्वगृहेपि तस्य तारानुरक्तस्य सुखागमेषु
ciraṃ vihṛtyātha jagāma tārāṃ vidhurgṛhītvā svagṛhaṃ tatopi | na tṛptirāsītsvagṛhepi tasya tārānuraktasya sukhāgameṣu
ദീർഘകാലം വിഹരിച്ച ശേഷം ചന്ദ്രൻ താരയെ കൂട്ടിക്കൊണ്ട് തന്റെ ഗൃഹത്തിലേക്കു പോയി. എങ്കിലും സ്വന്തം വീട്ടിലുപോലും അവന് തൃപ്തിയുണ്ടായില്ല; സുഖഭോഗങ്ങളിൽ താരയോടുള്ള അവന്റെ ആസക്തി അതിഗാഢമായിരുന്നു.
Narrator (Purāṇic narration; specific dialogue speaker not indicated in the provided verse alone)
Concept: Sense-pleasure and possession do not yield contentment; attachment breeds perpetual dissatisfaction even amid abundance.
Application: Notice craving’s ‘never enough’ pattern; practice moderation, devotional routines, and mindful substitution—turn longing into prayer, service, and disciplined living.
Primary Rasa: karuna
Secondary Rasa: shringara
Type: celestial_realm
Visual Art Cues: {"scene_description":"Inside Soma’s opulent lunar palace—silver pillars, pearl curtains, and a terrace opening to starfields—Soma sits with Tārā, yet his face shows a subtle emptiness. Pleasure surrounds them like perfume, but the heart remains restless; the moonlight itself seems thin, unable to fill the craving it illuminates.","primary_figures":["Soma (Chandra)","Tārā"],"setting":"A celestial palace with moonstone floors, lotus-carved columns, starry sky beyond arched windows; attendants distant and subdued to emphasize inner isolation.","lighting_mood":"divine radiance","color_palette":["opal white","cool silver","deep indigo","pearl gray","soft lavender"],"tanjore_prompt":"Tanjore painting style: Soma in a moon-palace with embossed gold leaf on architectural borders; silver-white throne, gem-studded ornaments; Tārā beside him with floral jewelry; despite splendor, Soma’s expression is restless; rich maroon accents and gilded halos.","pahari_prompt":"Pahari miniature style: quiet interior scene with refined emotion—Soma gazing away from Tārā toward the night sky; delicate palace details, cool palette, subtle shading to convey dissatisfaction; stars rendered as fine dots, drapery flowing softly.","kerala_mural_prompt":"Kerala mural style: frontal palace tableau with bold outlines; Soma’s crescent crown and halo prominent; cool-toned background adapted into mural pigments; expressive eyes conveying unease; symmetrical pillars and lotus motifs framing the couple.","pichwai_prompt":"Pichwai cloth painting style: moon-palace framed by ornate lotus borders; deep blue textile ground with gold star motifs; Soma centered with moon-disc aura, Tārā beside; decorative abundance contrasted with a contemplative, slightly averted gaze to signal inner lack."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"serene","sound_elements":["soft tanpura drone","distant wind","faint chime","expansive silence"]}
Sandhi Resolution Notes: ततोपि = ततः + अपि; तृप्तिरासीत् = तृप्तिः + आसीत्; स्वगृहेपि = स्वगृहे + अपि; तारानुरक्तस्य = तारा + अनुरक्तस्य; सुखागमेषु = सुख + आगमेषु
FAQs
It portrays how strong attachment (anurāga) can destroy contentment: even after returning home, the mind remains unsatisfied when it is fixated on pleasure.
Vidhū is a common epithet of Chandra (the Moon). Tārā is the named female figure taken by him; the verse highlights his infatuation with her.
In this line the emphasis is ethical-psychological: it illustrates the unrest produced by sensual attachment, a recurring Purāṇic theme used to support dharma and self-restraint.