Shloka 159
Kroṣṭu–Yādava Lineages, the Syamantaka Jewel, Krishna’s Birth Context, and the Māyāmoha Account
सुमित्रं चारुमित्रं च मित्रविंदा व्यजायत । मित्रबाहुः सुनीथश्च नाग्नजित्यां बभूवतुः
sumitraṃ cārumitraṃ ca mitraviṃdā vyajāyata | mitrabāhuḥ sunīthaśca nāgnajityāṃ babhūvatuḥ
मित्रविन्दा सुमित्रं चारुमित्रं च व्यजायत। नाग्नजित्याम् अभवतां मित्रबाहुः सुनीथश्च॥
Narratorial voice (genealogical listing; specific dialogue speaker not explicit in this isolated verse)
Concept: Remembering lineage (vaṁśa-smṛti) preserves social and ritual order; progeny are framed as continuations of dharma rather than mere biology.
Application: Honor ancestors and family responsibilities with integrity; treat relationships as stewardship of values, not possession.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: city
Visual Art Cues: {"scene_description":"A court scribe recites names as a queen, Mitravindā, sits in dignified calm, while attendants cradle newborn princes—Sumitra and Cārumitra—beneath a canopy of embroidered lotuses. In a parallel vignette, Nāgnajitī is shown with Mitrabāhu and Sunītha, the scene arranged like a genealogical tapestry where each child is a luminous node in a sacred family tree.","primary_figures":["Mitravindā","Sumitra","Cārumitra","Nāgnajitī","Mitrabāhu","Sunītha","royal attendants/scribes"],"setting":"Royal palace interior with carved pillars, genealogical scrolls, and a stylized ‘family tree’ motif painted on the backdrop.","lighting_mood":"temple lamp-lit","color_palette":["ivory","vermilion","peacock green","lapis blue","antique gold"],"tanjore_prompt":"Tanjore painting style: two-panel palace scene—Mitravindā with two infants on a lotus-patterned throne and Nāgnajitī with two infants in a mirrored composition; gold leaf detailing on crowns, jewelry, and palace arch; rich reds and greens, symmetrical icon-like arrangement emphasizing lineage sanctity.","pahari_prompt":"Pahari miniature style: intimate palace chamber with delicate textiles; Mitravindā and Nāgnajitī portrayed with refined expressions, infants swaddled; soft pastel architecture, fine linework, lyrical calm, a scribe holding a palm-leaf manuscript listing names.","kerala_mural_prompt":"Kerala mural style: bold outlined royal figures with stylized eyes; infants depicted as auspicious icons; ornamental borders of lotus and creepers; warm red-yellow-green palette with rhythmic symmetry.","pichwai_prompt":"Pichwai cloth painting style: genealogical ‘tree of life’ backdrop filled with lotus motifs; queens seated centrally in balanced layout; intricate floral borders and gold accents; deep blue ground with decorative name-cartouche motifs (non-textual) symbolizing lineage."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridangam pulse","palm-leaf page rustle","palace ambience","distant conch from a shrine"]}
Sandhi Resolution Notes: सुमित्रं चारुमित्रं = सुमित्रम् + चारुमित्रम् (अनुस्वार/विराम-लेखन); सुनीथश्च = सुनीथः + च
FAQs
It records births in a royal genealogy, stating which sons were born to Mitravindā and which were born to Nāgnajitī.
Not directly; it functions as a genealogical note within the Sṛṣṭikhaṇḍa’s broader narrative framework.
They are presented as mothers/queens through whom specific sons are born; the verse’s focus is to attribute the offspring to each named woman.