Shloka 71
The Greatness of Hari’s Janmāṣṭamī (Jayantī) Vow
चांडालैः पतितैः सार्द्धमालापं सर्वदाकरोत् । एतदेवं विधो राजा मृगयायां मनो दधे
cāṃḍālaiḥ patitaiḥ sārddhamālāpaṃ sarvadākarot | etadevaṃ vidho rājā mṛgayāyāṃ mano dadhe
ਉਹ ਚਾਂਡਾਲਾਂ ਅਤੇ ਪਤਿਤਾਂ ਨਾਲ ਸਦਾ ਗੱਲਬਾਤ ਕਰਦਾ ਰਹਿੰਦਾ। ਐਸੇ ਹੀ ਆਚਰਨ ਵਾਲੇ ਉਸ ਰਾਜੇ ਨੇ ਸ਼ਿਕਾਰ ਵੱਲ ਮਨ ਧਰਿਆ।
Narrator (unspecified in the provided excerpt)
Concept: Saṅga (association) shapes destiny: habitual intimacy with the fallen normalizes adharma and culminates in further violence (hunting).
Application: Choose companions and media carefully; cultivate satsanga—temple community, scripture study, service—so the mind does not drift toward harmful pursuits.
Primary Rasa: bibhatsa
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"At the edge of a city, the king stands in a neglected quarter, speaking familiarly with outcast figures while his royal insignia hangs askew—signaling inner disorder. Beyond them, the forest opens like a dark invitation, and the king’s gaze turns toward it, already imagining the hunt.","primary_figures":["King Citrasena","outcastes (cāṇḍālas)","fallen courtiers","distant forest spirits (symbolic)"],"setting":"city outskirts blending into forest threshold; broken boundary stones, stray dogs, smoky fires, and a path leading into dense woods","lighting_mood":"overcast dusk","color_palette":["dusty ochre","charcoal gray","faded saffron","forest green","rust red"],"tanjore_prompt":"Tanjore painting style: the king in ornate yet disordered regalia conversing with cāṇḍālas at a city edge; gold leaf used sparingly on royal ornaments to show diminished glory; background forest rendered in deep greens with a looming path; decorative border with lotus motifs partially blackened to symbolize corrupted dharma.","pahari_prompt":"Pahari miniature style: nuanced social scene with delicate faces—king leaning in conversation, attendants uneasy; the forest beyond painted with lyrical trees and a winding path; cool, restrained palette and subtle moral tension in body language.","kerala_mural_prompt":"Kerala mural style: rhythmic grouping of figures with bold outlines; the king’s eyes wide and restless; stylized flames and smoke in the marginal quarter; forest rendered as layered green bands; symbolic crow and dog motifs to suggest inauspicious drift.","pichwai_prompt":"Pichwai cloth painting style: narrative border panels—central king at the threshold, surrounding floral frames with alternating pure lotus and thorny vines; peacocks absent or muted to convey loss of auspiciousness; deep indigo background with earthy highlights."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["distant city murmur","wind through trees","crows calling","soft drum"]}
Sandhi Resolution Notes: सार्द्धमालापम् = सार्धम् + आलापम्; सर्वदाकरोत् = सर्वदा + अकरोत्; एतदेवं = एतत् + एवम्.
FAQs
The verse highlights the king’s habitual association and conversation with outcastes and morally fallen persons, followed by his inclination toward hunting—suggesting questionable judgment and a decline from ideal royal conduct.
Mṛgayā literally means hunting; in many Purāṇic contexts it can signify royal pastime but also serves as a narrative marker for distraction, aggression, or moral lapse when pursued excessively or irresponsibly.
A ruler’s constant company and habits shape his mind and decisions; associating with degrading influences and indulging in harmful pursuits can indicate or accelerate ethical deterioration.