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Shloka 1

ययातेर्वानप्रस्थतपःस्वर्गारोहणम् | Yayāti’s Vānaprastha Austerities and Ascent to Heaven

(दाक्षिणात्य अधिक पाठके ५६ श्लोक मिलाकर कुल ३२३ “लोक हैं) नफमशा (0) अमन न एकाशीतितमो< ध्याय: सखियोंसहित देवयानी और शर्मिष्ठाका वन-विहार

Vaiśampāyana uvāca: atha dīrghasya kālasya devayānī nṛpottama | vanaṃ tadeva niryātā krīḍārthaṃ varavarṇinī ||

Vaiśampāyana berkata: Wahai raja yang terbaik, setelah sekian lama berlalu, Devayānī—yang berseri-seri rupanya—sekali lagi keluar ke rimba yang sama untuk bersuka ria. Bait ini membuka suasana yang tenang, seolah-olah mengisyaratkan bahawa hiburan dan gerak langkah yang biasa pun boleh menjadi pintu masuk takdir serta akibat moral ke dalam kisah raja dan keturunan.

वैशम्पायनःVaishampayana
वैशम्पायनः:
Karta
TypeNoun
Rootवैशम्पायन
FormMasculine, Nominative, Singular
उवाचsaid
उवाच:
TypeVerb
Rootवच्
FormPerfect, Third, Singular, Parasmaipada
अथthen
अथ:
TypeIndeclinable
Rootअथ
दीर्घस्यof long
दीर्घस्य:
TypeAdjective
Rootदीर्घ
FormMasculine/Neuter, Genitive, Singular
कालस्यof time
कालस्य:
TypeNoun
Rootकाल
FormMasculine, Genitive, Singular
देवयानीDevayani
देवयानी:
Karta
TypeNoun
Rootदेवयानी
FormFeminine, Nominative, Singular
नृपोत्तमO best of kings
नृपोत्तम:
TypeNoun
Rootनृपोत्तम
FormMasculine, Vocative, Singular
वनम्forest
वनम्:
Karma
TypeNoun
Rootवन
FormNeuter, Accusative, Singular
तत्that
तत्:
TypePronoun
Rootतद्
FormNeuter, Accusative, Singular
एवindeed/just
एव:
TypeIndeclinable
Rootएव
निर्याताwent out/started forth
निर्याता:
TypeVerb
Rootनिर्-या
Formक्त (past passive participle, used actively), Feminine, Nominative, Singular
क्रीडार्थम्for play/sport
क्रीडार्थम्:
TypeNoun
Rootक्रीडा-अर्थ
FormMasculine, Accusative, Singular
वरवर्णिनीof excellent complexion/beautiful
वरवर्णिनी:
TypeAdjective
Rootवरवर्णिनी
FormFeminine, Nominative, Singular

वैशम्पायन उवाच

V
Vaiśampāyana
D
Devayānī
F
forest (vana)
N
nṛpottama (address to the king, i.e., Janamejaya)

Educational Q&A

Even seemingly ordinary actions—like going for recreation—can become the starting point of major ethical and karmic developments; the epic often frames destiny and dharma as entering through everyday moments.

The narrator states that after a long interval Devayānī goes again to the same forest for amusement, setting the scene for the subsequent encounter and events of the Yayāti–Devayānī narrative.