Shloka 120
Origin of the Lunar Dynasty: Soma’s Rise, the Tārā Abduction War, Budha–Purūravas Genealogy, and Kārtavīrya Arjuna
क्रीडते स्वसुखा ये विप्रतिस्रोतो महीपतिः । ललनाः क्रीडता तेन प्रतिबद्धोर्मिमालिनी
krīḍate svasukhā ye vipratisroto mahīpatiḥ | lalanāḥ krīḍatā tena pratibaddhormimālinī
ସେଠାରେ ସେଇ ମହୀପତି ନିଜ ସୁଖାନୁସାରେ ସ୍ରୋତର ପ୍ରତିକୂଳରେ କ୍ରୀଡ଼ା କରେ; ତାଙ୍କ ସହ କ୍ରୀଡ଼ାରତ ଲଲନାମାନଙ୍କ ଦ୍ୱାରା ତରଙ୍ଗମାଳା-ଭୂଷିତ ନଦୀ ଯେନ ଅଟକାଇ ରଖାଯାଇଛି।
Unspecified narrator (context-dependent within Adhyaya 12)
Concept: Even pleasure (kṛīḍā) is portrayed as an arena where power and restraint meet; the image hints at mastery over impulses and environment, a royal ideal that must remain within dharma.
Application: Let recreation be conscious and non-harmful: enjoy beauty without exploitation; keep boundaries so that leisure restores rather than disturbs others (and nature).
Primary Rasa: shringara
Secondary Rasa: adbhuta
Type: river
Visual Art Cues: {"scene_description":"On a broad river with bright, curling waves like a garland, the king playfully moves against the current, laughing as he challenges the water’s force. Around him, elegantly adorned women join the sport, and the river itself seems to pause—its wave-rows held in suspense by the magnetism of their play.","primary_figures":["King (sahasrabāhu context)","Royal women/companions","Personified river-goddess presence (subtle)"],"setting":"Wide Narmadā river with stone ghats and lush banks; floating lotus clusters; distant palace pavilions and banyan trees.","lighting_mood":"forest dappled with sun-glints on water","color_palette":["river jade","lotus pink","pearl white","sunlit gold","leaf green"],"tanjore_prompt":"Tanjore painting style: riverside kṛīḍā scene with the king and companions in jeweled attire; gold leaf highlights on ornaments and water-glints; stylized wave-garland patterns; rich reds/greens, ornate pavilion backdrop, symmetrical composition with decorative borders.","pahari_prompt":"Pahari miniature style: intimate river-sport with delicate figures, translucent garments, and refined expressions; lyrical river curves with fine wave-lines; soft greens of the bank, lotus clusters, and a small pavilion; gentle sunlight and romantic mood.","kerala_mural_prompt":"Kerala mural style: bold outlines, rhythmic wave motifs, and stylized figures with expressive eyes; the king centered, companions arranged in flowing arcs; warm yellow and green palette with red accents; temple-wall aesthetic river patterns.","pichwai_prompt":"Pichwai cloth painting style: decorative river filled with lotus motifs and wave garlands; ornate floral borders; deep blue-green water with gold highlights; central playful scene rendered with symmetrical ornamentation and peacocks on the banks."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","anklet bells","laughter softened","birds at riverbank"]}
Sandhi Resolution Notes: pratibaddhormimālinī = प्रतिबद्ध + ऊर्मिमालिनी (visarga sandhi: -द्धः + ऊ- → -द्धोर्मि-).
FAQs
A king playfully moving against a river’s current with accompanying women, with the river poetically described as “wave-garlanded” and seemingly checked or restrained by their sport.
It indicates motion “against the current,” emphasizing vigor, willfulness, or playful defiance of the natural flow.
Rather than a direct moral teaching, the verse primarily uses aesthetic description (kāvya-style imagery) to depict worldly enjoyment and the power of human activity to metaphorically ‘restrain’ even a surging river.