Shloka 105
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
कामासक्तः समूढस्तु ययातिः पृथिवीपतिः । गृहं गत्वा समाहूय सुतान्वाक्यमुवाच ह
kāmāsaktaḥ samūḍhastu yayātiḥ pṛthivīpatiḥ | gṛhaṃ gatvā samāhūya sutānvākyamuvāca ha
Raja Yayāti, penguasa bumi—dalam kekeliruan dan terikat pada nafsu indera—pulang ke istana, memanggil putera-puteranya, lalu menuturkan kata-kata ini kepada mereka.
Narrator (Purāṇic narrator describing Yayāti’s actions)
Concept: Kāma-asakti produces moha (bewilderment), driving even a powerful king into ethically fraught decisions; desire is portrayed as a binding force needing governance.
Application: Notice craving’s narrative: when attachment rises, pause before acting, seek counsel, and redirect energy into service, prayer, or disciplined routine; avoid making family decisions from compulsion.
Primary Rasa: karuna
Secondary Rasa: bibhatsa
Type: city
Visual Art Cues: {"scene_description":"Yayāti strides through palace corridors with restless eyes, heavy jewelry and royal garments unable to mask inner confusion. He summons his sons with an urgent gesture; shadows lengthen behind him like the shape of craving, while a distant shrine lamp flickers—dharma watching silently.","primary_figures":["King Yayāti","his sons (summoned princes)","attendants (optional)"],"setting":"Palace interior leading to an audience hall; pillars, hanging lamps, and a small side shrine to Viṣṇu or a dharma emblem in the background.","lighting_mood":"moonlit","color_palette":["midnight blue","tarnished gold","deep maroon","smoke gray","lamp-flame orange"],"tanjore_prompt":"Tanjore painting style: Yayāti in ornate royal attire yet with troubled expression, summoning princes in a palace hall, gold leaf on jewelry and pillars, dramatic contrast between opulence and inner turmoil, rich reds and blues, a small Viṣṇu shrine lamp glowing in the corner.","pahari_prompt":"Pahari miniature style: psychological narrative—Yayāti’s tense posture, sons entering from side arches, cool nocturnal palette, delicate architectural detail, long shadows suggesting moha, subtle lamp glow as moral counterpoint.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized palace corridor, exaggerated expressive eyes showing delusion, saturated dark blues and reds, symbolic shadow-form of kāma behind the king, shrine lamp motif for dharma.","pichwai_prompt":"Pichwai cloth painting style: central figure of Yayāti framed by lotus borders that appear slightly wilted to symbolize desire’s decay, deep blue ground with gold filigree, peacocks subdued, a small Viṣṇu emblem above as silent witness, intricate patterns contrasting inner disorder."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["urgent footsteps","low drum pulse","distant conch muted","palace echo","sudden hush before quoted speech"]}
Sandhi Resolution Notes: समूढस्तु = समूढः + तु; सुतान्वाक्यमुवाच = सुतान् + वाक्यम् + उवाच.
FAQs
It introduces a narrative moment where King Yayāti, overcome by desire and confusion, calls his sons together to address them.
It frames kāma (sense-desire) as a force that can cloud judgment (moha), even in a powerful ruler, preparing for a lesson about self-mastery and responsibility.
This verse is narrated in third person; it reports that Yayāti then spoke to his sons, but the verse itself is the narrator’s description.