Shloka 45
The Yayāti Episode
with the Glory of Mātā–Pitṛ Tīrtha
समाह्वयति तं राजा न सुतं नृपनंदनम् । शिशुं ज्ञात्वा परित्यक्तः सकुरुस्तेन वै तदा
samāhvayati taṃ rājā na sutaṃ nṛpanaṃdanam | śiśuṃ jñātvā parityaktaḥ sakurustena vai tadā
Raja memanggilnya, wahai putera raja, namun baginda tidak mengakui dia sebagai anaknya. Setelah mengetahui bahawa dia hanyalah seorang kanak-kanak, baginda pun menyingkirkannya pada saat itu; demikianlah yang berlaku ketika itu.
Narrator (contextual; specific dialogue speaker not explicit in the single verse provided)
Concept: Worldly recognition (as ‘son’ or ‘heir’) is fragile; dharma requires discernment and compassion, especially toward the vulnerable.
Application: Do not make identity-based decisions in anger or pride; protect children and dependents; pause before irreversible rejection.
Primary Rasa: karuna
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"In a palace hall, a king gestures for a child to approach, yet his face hardens as he refuses to acknowledge him; courtiers avert their eyes. The child, still holding a toy, is led away toward the palace threshold, where the world outside—dusty road and distant banners of Kuru—suggests exile and fate.","primary_figures":["the king","the child (bāla)","courtiers/guards"],"setting":"Royal audience hall opening to a city gate; transitional space emphasizing acceptance vs abandonment.","lighting_mood":"temple lamp-lit fading into dusk","color_palette":["smoked amber","royal maroon","stone beige","deep teal","muted gold"],"tanjore_prompt":"Tanjore painting style: richly ornamented king on a throne with gold-leaf arch, yet with a stern expression; the child in bright garments holding a small toy-lotus; attendants in layered reds/greens; gold borders emphasize the moral weight, with the palace doorway rendered as a symbolic threshold of dharma.","pahari_prompt":"Pahari miniature style: intimate court scene with delicate expressions—king’s conflicted gaze, child’s innocence; soft architectural lines, pale stone floors, a hint of Kuru banners outside; restrained palette and fine brushwork to heighten pathos.","kerala_mural_prompt":"Kerala mural style: bold outlines, expressive eyes; the king’s refusal shown through a turned palm gesture; the child centered with auspicious marks; warm reds/yellows with green accents, mural flatness conveying archetypal moral drama.","pichwai_prompt":"Pichwai cloth painting style: narrative panel format—central court scene framed by floral borders; the child depicted amid lotus motifs (innocence), while the king’s throne is ornate; deep blues and gold with stylized architecture, emphasizing dharma as aesthetic order disrupted by rejection."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"emotional","sound_elements":["soft mridangam","palace ambience","distant footsteps","brief silence on the moment of rejection"]}
Sandhi Resolution Notes: सकुरुस्तेन → स-कुरुः तेन (विसर्ग-सन्धि); नृपनंदनम् → नृप-नन्दनम् (समास-विग्रह).
FAQs
A king calls someone to him but refuses to accept him as his son; upon realizing he is merely a child, he abandons him.
It points to the moral failure of rejecting or abandoning the vulnerable—especially a child—highlighting the duty of protection expected of rulers.
The verse explicitly names “Kuru,” indicating that the person abandoned is Kuru (or one identified as Kuru) within the chapter’s narrative context.