Shloka 10
Narrative of the Śūdra’s Renunciation of Greed
with the Tulādhāra Greatness Prelude
अदरिद्रं ततो ज्ञात्वा द्विजव्यूहं परित्यजेत् । तथैव स्नातकानां तु सहस्राणि तु षोडश । नित्यं संभोजयेद्राजा सत्येनैव विमत्सरः
adaridraṃ tato jñātvā dvijavyūhaṃ parityajet | tathaiva snātakānāṃ tu sahasrāṇi tu ṣoḍaśa | nityaṃ saṃbhojayedrājā satyenaiva vimatsaraḥ
Kemudian, setelah mengetahui siapa antara para Brahmana yang tidak miskin, hendaklah diketepikan kerumunan Brahmana yang datang sekadar sebagai perhimpunan. Demikian juga raja—benar lagi bebas daripada hasad—hendaklah setiap hari menjamu enam belas ribu snātaka.
Unspecified (contextual narrator within Sṛṣṭikhaṇḍa; specific dialogue pair not indicated in the provided excerpt)
Concept: Dāna must be guided by viveka (discernment) and satya (truthfulness), not by envy or mere crowd-pleasing; daily feeding of qualified snātakas is a king’s sustaining dharma.
Application: Practice intentional giving: support those who uphold learning and vows; give regularly (even modestly) with honesty and without competitiveness; avoid performative charity driven by social pressure.
Primary Rasa: shanta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A righteous king in a pillared sabhā personally oversees a vast annadāna. Lines of serene snātaka-brāhmaṇas with water-pots and sacred threads receive food respectfully, while the king’s face shows calm truthfulness and absence of envy.","primary_figures":["Dharmic king (idealized)","Snātaka brāhmaṇas","Royal attendants"],"setting":"Royal court with an attached charity hall (anna-śālā), brass vessels, banana-leaf plates, Vedic recitation in the background.","lighting_mood":"temple lamp-lit","color_palette":["saffron ochre","ivory white","deep maroon","burnished gold","leaf green"],"tanjore_prompt":"Tanjore painting style: a crowned dharmic king in a South Indian sabhā offering annadāna to rows of snātaka brāhmaṇas; heavy gold leaf on crowns, jewelry, and halo-like arch behind the king; rich reds and greens, gem-studded ornaments, ornate pillars, brass vessels gleaming, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: a refined palace courtyard with delicate arches; the king seated modestly distributing food to calm snātakas; fine linework, soft shading, cool yet warm-balanced palette, lyrical faces, small details like water-pots and sacred threads, distant gardens and hills.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; the king with large expressive eyes and stylized crown, attendants holding lamps and vessels; rows of brāhmaṇas receiving food; red/yellow/green dominant palette, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: annadāna scene framed by intricate floral borders and lotus motifs; central royal donor with a subtle Vishnu-symbolic aura; peacocks and stylized cows at the margins to signal dharmic prosperity; deep indigo background with gold detailing and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","soft Vedic chanting","clinking brass vessels","murmur of a gathered assembly"]}
Sandhi Resolution Notes: tathaiva = tathā + eva; satyenaiva = satyena + eva; dvijavyūham is a tatpuruṣa compound (dvija + vyūha).
FAQs
Snātakas are those who have completed Vedic study and undertaken the snātaka-vrata (a graduate vow), typically regarded as disciplined, learned householders worthy of honor and support.
The verse stresses royal duty expressed through daily generosity (feeding the worthy), guided by truthfulness and the absence of envy—virtues that ensure charity is principled rather than competitive or performative.
No. The focus is on dāna/annadāna and rājadharma (a king’s obligations). Any connection to bhakti would be indirect, through the broader Purāṇic ideal of sustaining dharma via righteous conduct.