Shloka 3
Yayāti’s Ascent to Heaven
and Entry into Vaikuṇṭha
व्रजाम्यहं न संदेहो ह्यनया सह सत्तमाः । ब्राह्मणाः क्षत्रिया वैश्याः सशूद्रा श्च प्रजा मम
vrajāmyahaṃ na saṃdeho hyanayā saha sattamāḥ | brāhmaṇāḥ kṣatriyā vaiśyāḥ saśūdrā śca prajā mama
Aku akan berangkat—tiada keraguan—bersamanya, wahai yang terbaik antara insan berbudi. Para brāhmaṇa, kṣatriya, vaiśya dan juga śūdra ialah rakyatku.
Unspecified (context needed from surrounding verses; likely a king/ruler speaking)
Concept: A ruler’s resolve includes responsibility for all varṇas as ‘my subjects’—a vision of social stewardship rather than private interest.
Application: Treat leadership (family/work/community) as guardianship: include everyone under your care without partiality; make decisions with clarity and accountability.
Primary Rasa: vira
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A solemn king, poised at the threshold of departure, turns back to address his gathered subjects—brāhmaṇas, kṣatriyas, vaiśyas, and śūdras—standing in respectful rows. Beside him stands a veiled noble woman, while the palace gate and a distant road suggest renunciation tempered by responsibility.","primary_figures":["the departing king","the accompanying woman (queen/consort)","subjects of four varṇas","royal attendants"],"setting":"Palace courtyard opening onto a city road; banners lowered, citizens assembled in orderly groups.","lighting_mood":"golden dawn","color_palette":["burnished gold","royal crimson","sandalwood beige","deep indigo","copper bronze"],"tanjore_prompt":"Tanjore painting style: a resolute king at a palace gateway addressing assembled subjects of four varṇas, the queen beside him, ornate arches and temple-like pillars, heavy gold leaf halos and jewelry, rich crimson and emerald textiles, gem-studded ornaments, stylized South Indian iconographic symmetry, intricate floral borders.","pahari_prompt":"Pahari miniature style: a palace courtyard scene with delicate brushwork, the king speaking with calm resolve to neatly grouped townspeople, soft pastel architecture, lyrical trees and distant hills, refined faces and expressive eyes, subtle shading, cool morning sky with a thin golden band at the horizon.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments, the king in regal stance with pronounced eyes and elaborate crown, the queen and subjects arranged in rhythmic tiers, palace pillars and lotus motifs, dominant reds/yellows/greens, temple-wall aesthetic with ornamental bands.","pichwai_prompt":"Pichwai cloth painting style: a civic assembly framed by lotus and floral borders, the king as central figure under a decorative canopy, peacocks at the corners, intricate textile patterns, deep blue background with gold highlights, devotional compositional balance reminiscent of Nathdwara narrative panels."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["distant conch shell","soft temple bells","murmur of a gathered crowd","flag cloth flutter","morning birds"]}
Sandhi Resolution Notes: व्रजाम्यहं → व्रजामि अहम्; ह्यनया → हि अनया; सशूद्रा श्च → सशूद्राः च.
FAQs
It expresses a firm decision to depart with a woman (“with her”), while affirming a ruler’s inclusive relationship to all four social classes as his subjects.
Not directly in this single śloka; it reads more like a statement within a narrative or a rāja-dharma (kingly duty) context. The surrounding verses are needed to confirm the chapter’s primary theological focus.
It implies responsibility toward the whole populace—brāhmaṇas, kṣatriyas, vaiśyas, and śūdras—treating them collectively as “my people/subjects,” which aligns with the ideal of inclusive governance.