Shloka 39
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
संसारे नास्ति चैवान्या नारीदृशी चराचरे । पुरा नटो जरायुक्तो नृपतेः कायमेव हि
saṃsāre nāsti caivānyā nārīdṛśī carācare | purā naṭo jarāyukto nṛpateḥ kāyameva hi
ในสรรพโลกทั้งที่เคลื่อนไหวและไม่เคลื่อนไหว ไม่มีสตรีใดเสมอเหมือนนางเลย แต่ก่อนนั้น นักแสดงชราก็เป็นเพียงร่างกายของพระราชาเท่านั้น ราวกับเป็นเพียงรูปกายที่ปรากฏ
Uncertain (context needed from surrounding verses; likely within a Pulastya–Bhīṣma narrative frame in Bhūmi-khaṇḍa)
Concept: Hyperbolic praise of beauty signals the mind’s tendency to absolutize a transient object; recognizing this tendency is the first step to mastery.
Application: Notice exaggeration in one’s own mind (‘nothing compares’); counterbalance with remembrance of impermanence and a brief mantra to re-center.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A narrator’s vision overlays the world: forests, cities, and celestial terraces fade into a single tableau where the wide-eyed woman stands as the focal point, while faint silhouettes of ‘other beauties’ dissolve like mirages. In the corner, an aged actor—wrinkled, costumed—appears as a metaphor of mere embodied appearance, hinting at illusion and performance.","primary_figures":["wide-eyed incomparable woman","aged actor (nata) as metaphorical figure","onlooking king or courtly witness (optional, subdued)"],"setting":"A layered montage: court stage in the foreground, the three worlds suggested in the background as translucent vignettes.","lighting_mood":"temple lamp-lit","color_palette":["antique gold","smoky indigo","sandalwood beige","deep maroon","leaf green"],"tanjore_prompt":"Tanjore painting style: central wide-eyed lady with ornate jewelry and gold leaf aura, a theatrical stage element with an aged actor in the foreground, rich maroon curtains, embossed gold detailing, symbolic background panels showing ‘moving and unmoving’ world as miniature scenes, traditional iconographic frontality and lavish ornamentation.","pahari_prompt":"Pahari miniature style: poetic montage with delicate stage curtains, the lady as luminous center, the aged actor rendered with fine linework and gentle humor, distant landscapes in pale washes suggesting the whole world, refined expressions conveying fascination and illusion.","kerala_mural_prompt":"Kerala mural style: stylized theatrical framing, bold outlines, the lady with large eyes and patterned garments, the aged actor as a contrasting earthy figure, layered registers indicating different realms, warm ochres and reds with green accents, ornamental borders.","pichwai_prompt":"Pichwai cloth painting style: central figure framed by floral borders, stage motifs and patterned textiles, repeated small vignettes of animals/trees to indicate ‘cara-acara’, deep indigo ground with gold highlights, decorative symbolism emphasizing performance and illusion."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft drum like stage tāla","murmured court audience","anklet bells (faint)","incense crackle","brief silence after the hyperbole"]}
Sandhi Resolution Notes: नास्ति→न अस्ति; चैवान्या→च एव अन्या; चराचरे→चर-अचरे (द्वन्द्व)
FAQs
It praises a particular woman as incomparable in the entire world (among all beings, moving and unmoving), using emphatic, hyperbolic language typical of Purāṇic narrative praise.
The verse refers to an old performer (naṭa) in relation to a king, but the precise narrative point is unclear without adjacent verses; it may be describing a staged appearance, disguise, or a courtly episode involving performance and royal identity.
At minimum, it illustrates how worldly narratives emphasize perception and appearance—praise, reputation, and embodied roles—though a firmer ethical lesson depends on the surrounding story context.