Shloka 46
Śatrughna’s Entry into Ahicchatrā
Temptation of Sumada and the Goddess’s Boon
अहिच्छत्रापतिः सर्वैः स्वगणैः परिवारितः । सभायां सुखमास्ते यो बहुराजन्यसेवितः
ahicchatrāpatiḥ sarvaiḥ svagaṇaiḥ parivāritaḥ | sabhāyāṃ sukhamāste yo bahurājanyasevitaḥ
Владыка Ахиччхатры, окружённый всеми своими слугами, сидит спокойно в собрании, и многие вельможи и царские люди служат ему.
Unspecified (narrative voice within Pātālakhaṇḍa context)
Concept: Royal authority is legitimized through orderly governance and the visible support of one’s retinue and nobles; the king’s ease in sabhā implies stability that should be anchored in dharma.
Application: Cultivate steadiness and responsibility in leadership roles; create environments where service is coordinated and respectful rather than chaotic or ego-driven.
Primary Rasa: vira
Secondary Rasa: shanta
Type: city
Visual Art Cues: {"scene_description":"A grand royal sabhā in Ahicchatra: the king sits calmly on a lion-throne, encircled by attendants holding fly-whisks and parasols, while nobles stand in layered ranks offering respectful service. Pillars carved with nāga and lotus motifs frame the hall, suggesting the Pātāla-khaṇḍa’s subterranean aura even within a terrestrial court.","primary_figures":["King of Ahicchatra","royal attendants (sevakas)","nobles/rajaṇyas"],"setting":"pillared audience hall with lotus-carved capitals, banners, and a raised throne-dais; guarded entrances and orderly courtiers","lighting_mood":"temple lamp-lit","color_palette":["antique gold","deep maroon","sandalwood beige","emerald green","smoky indigo"],"tanjore_prompt":"Tanjore painting style: the lord of Ahicchatra seated on a lion-throne in a richly ornamented sabhā, gold leaf halo-like arch behind the throne, attendants with chamara and white parasol, nobles in jeweled turbans offering service, lotus and nāga motifs on pillars, heavy gold embellishment, rich reds and greens, gem-studded ornaments, traditional South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: a serene court scene with the king seated at ease, delicate brushwork on textiles and jewelry, refined faces of nobles, architectural hall opening to a distant river plain, cool yet regal palette with lyrical naturalism, subtle lotus motifs and patterned carpets.","kerala_mural_prompt":"Kerala mural style: bold black outlines, the king centered on a throne with attendants flanking, stylized lotus pillars and nāga ornamentation, warm red/yellow/green pigments, large expressive eyes, temple-wall aesthetic with rhythmic composition.","pichwai_prompt":"Pichwai cloth painting style: courtly sabhā reimagined with lotus borders and ornate floral frames, deep blue backdrop with gold highlights, attendants and nobles arranged in symmetrical rows, peacock and lotus motifs in the margins, intricate textile patterns and decorative borders."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft court murmurs","temple bells in distance","chamara swish","conch shell (faint)"]}
Sandhi Resolution Notes: अहिच्छत्रापतिः = अहिच्छत्र + पतिः; सुखमास्ते → सुखम् आस्ते; बहुराजन्यसेवितः = बहु + राजन्य + सेवितः
FAQs
It refers to the ruler (lord/king) of Ahicchatra, an ancient region/city noted in Indian tradition; the verse depicts him as enthroned in his court with his retinue.
A royal court setting: the king sits comfortably in the assembly hall, surrounded by his attendants and served by many nobles.
It highlights royal authority and courtly hierarchy—retainers and nobles attending the ruler—serving as a narrative marker of political status and prosperity.