Shloka 58
The Yayāti Episode
with the Glory of Mātā–Pitṛ Tīrtha
कामासक्तश्च धर्मात्मा तां नारीमनुचिंतयन् । तत्सरः सागरप्रख्यंकामाख्यं नहुषात्मजः
kāmāsaktaśca dharmātmā tāṃ nārīmanuciṃtayan | tatsaraḥ sāgaraprakhyaṃkāmākhyaṃ nahuṣātmajaḥ
Хотя он был праведен сердцем, сын Нахуши был охвачен желанием; непрестанно помышляя о той женщине, он устроил озеро, обширное, как океан, по имени Кама.
Unspecified (narratorial voice within the Bhūmi-khaṇḍa discourse)
Concept: Even a dhārmika disposition can be eclipsed by unchecked kāma; mental fixation (anu-cintana) becomes destiny-shaping action.
Application: Notice repetitive thought-loops; replace obsessive anucintana with japa, nāma-smaraṇa, and regulated sense-life (niyama) before desire hardens into life-defining choices.
Primary Rasa: shringara
Secondary Rasa: karuna
Type: tirtha
Visual Art Cues: {"scene_description":"A vast lake spreads like a miniature ocean, its surface rippling with moonlit silver while lotus clusters drift near the shore. On the bank stands Nahusha’s son, dhārmika yet inwardly burning, his gaze fixed on an unseen beloved as the very landscape seems born from longing.","primary_figures":["Nahusha’s son (Laghuvikrama)","personified Kāma (subtle, as an aura or emblem)"],"setting":"Shore of an immense lake with lotuses, distant forest line, and a faint suggestion of a hermitage path leading away—symbolizing dharma receding.","lighting_mood":"moonlit with undercurrent of divine radiance","color_palette":["indigo night","silver sheen","lotus pink","emerald green","soft gold"],"tanjore_prompt":"Tanjore painting style: the ocean-like Kāmā-saras with stylized lotus bands; Laghuvikrama in regal attire at the bank, haloed yet troubled; gold leaf embellishment on the water highlights and jewelry; rich reds and greens, gem-studded ornaments, traditional South Indian iconography with a subtle Kāma emblem (sugarcane bow) in the background.","pahari_prompt":"Pahari miniature style: lyrical lakeside landscape with delicate brushwork; cool blues and greens, fine reeds and lotuses; the king shown in profile, contemplative and yearning; refined facial features, soft gradients in the sky, distant hills framing the moral solitude.","kerala_mural_prompt":"Kerala mural style: bold black outlines, natural pigments; expansive stylized lake with rhythmic lotus motifs; the king’s expressive eyes conveying fixation; warm red/yellow/green palette with controlled indigo for night, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: lotus-dense lake foreground with intricate floral borders; deep blues and gold; symbolic Kāma motifs woven into the border; peacocks near the waterline; devotional visual grammar subtly contrasting worldly desire with sacred lotus purity."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["gentle flowing water","night insects","distant temple bell","soft conch echo (very faint)"]}
Sandhi Resolution Notes: कामासक्तश्च → कामासक्तः च; नारीमनुचिंतयन् → नारीम् अनुचिन्तयन्; तत्सरः → तत् सरः; सागरप्रख्यंकामाख्यं → सागरप्रख्यं कामाख्यं
FAQs
It links a named body of water (a lake called Kāmā, vast like the sea) to a moral-psychological cause, a typical Purāṇic way of sacralizing geography through narrative origins.
Direct bhakti doctrine is not explicit here; the verse functions more as a moral and tīrtha-origin notice within Bhūmi-khaṇḍa’s sacred-geography style narration, which later contexts may connect to pilgrimage and religious practice.
Even a ‘dharma-minded’ person can be overpowered by fixation on desire; unchecked contemplation (anucintana) can redirect one’s life and actions, becoming a cautionary note about mental discipline.