Shloka 81
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
तपश्चचार राजेंद्र पतिकामा वरानना । राजोवाच । सर्वमेव त्वयाख्यातं मया ज्ञातं शुभे शृणु
tapaścacāra rājeṃdra patikāmā varānanā | rājovāca | sarvameva tvayākhyātaṃ mayā jñātaṃ śubhe śṛṇu
Ó rei, a mulher de belo rosto, desejosa de esposo, praticou austeridades. Disse o rei: «Tudo o que explicaste foi por mim compreendido; ó auspiciosa, agora escuta».
Narrator (first half); King (rājā) in direct speech (second half)
Concept: Focused tapas undertaken with a clear sankalpa (here, patikāmatā—desire for a husband) becomes efficacious when guided by right instruction and attentive listening.
Application: Before beginning any spiritual discipline, clarify intention, seek reliable guidance, and practice attentive listening; let effort be steady rather than impulsive.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A beautiful young woman stands in austere posture, hands folded, her hair simply bound, performing tapas beneath a sacred tree while a royal court scene fades behind her like a remembered world. In the foreground, a king turns slightly toward a sage or narrator, palms joined, signaling that he has understood and is ready to hear the next injunction.","primary_figures":["a patikāmā woman (vrata-performer)","a king (rājā)","a sage/narrator figure (ṛṣi)"],"setting":"Forest-edge hermitage near a royal encampment; a small altar with kusa grass, water pot, and a lamp; distant palace silhouettes to contrast renunciation and worldly life.","lighting_mood":"forest dappled","color_palette":["sandalwood beige","leaf green","vermillion","smoky brown","soft gold"],"tanjore_prompt":"Tanjore painting style: a regal king with jeweled crown and folded hands listens to a seated sage under a stylized sacred tree; to one side, the tapasvinī woman stands in prayer near a small altar with kalasha and lamp; heavy gold leaf halos, rich vermillion and emerald textiles, gem-studded ornaments, ornate arch motifs framing the scene, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: lyrical forest hermitage with delicate foliage and a slender riverlet; the young woman in simple garments performs tapas while the king, slightly behind, listens to a calm sage; cool greens and muted reds, refined faces, fine linework, airy Himalayan-like landscape depth.","kerala_mural_prompt":"Kerala mural style: bold black outlines and warm natural pigments; the king and sage in profile dialogue, the tapasvinī shown with serene wide eyes and minimal ornaments; temple-wall aesthetic with red/yellow/green dominance, stylized tree canopy and ritual vessels.","pichwai_prompt":"Pichwai cloth painting style: devotional narrative panel with ornate floral borders and lotus motifs; the king and sage at one side, the tapasvinī near a tulasi-like plant motif (symbolic), peacocks and cows as auspicious fillers; deep indigo background with gold highlights and intricate textile patterning."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","forest birds","gentle wind through leaves","distant conch shell"]}
Sandhi Resolution Notes: tapaścacāra = tapaḥ + cacāra (विसर्ग-सन्धिः); rājovāca = rājā + uvāca (स्वर-सन्धिः); sarvameva = sarvam + eva; tvayākhyātaṃ = tvayā + ākhyātam
FAQs
It presents tapas as a purposeful spiritual discipline undertaken to attain a desired life-goal—in this case, a suitable husband—implying that disciplined effort and devotion are efficacious.
The phrase “rājovāca” marks a shift to direct speech: a king is speaking, responding to what has been narrated or explained to him by an auspicious lady or female interlocutor.
The king models attentive listening and comprehension (“I have understood what you explained”) and then requests further hearing (“now listen”), highlighting respectful dialogue and careful reception of instruction.