Shloka 72
The Account of King Yayāti: Kāmasaras, Rati’s Tears, and the Birth of Aśrubindumatī
within the Mātā–Pitṛ Tīrtha Narrative
मूर्तिमंतो महाराज सद्भावगुणसंयुताः । काम एष समायातः केनाप्युक्तं तदा नृप
mūrtimaṃto mahārāja sadbhāvaguṇasaṃyutāḥ | kāma eṣa samāyātaḥ kenāpyuktaṃ tadā nṛpa
ข้าแต่มหาราช ผู้ประกอบด้วยจิตอันประเสริฐและคุณธรรม กามเทพองค์นี้ได้ปรากฏในรูปกายแล้ว—โอ้พระราชา ในกาลนั้นมีผู้หนึ่งได้อัญเชิญเรียกมา
Unclear from single-verse context (addressing a king, likely within a narrator-to-king dialogue)
Concept: Even subtle forces (desire) can manifest tangibly when invoked; therefore a ruler must govern impulses through discernment and virtue.
Application: Treat desire as a ‘summoned guest’: notice what calls it forth (saṅga, saṅkalpa), then redirect it into constructive vows, service, and self-restraint.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"In a royal sabhā, a luminous, youthful Kāma appears as if summoned by an unseen mantra—his form half-ethereal, half-embodied, stepping from a swirl of perfumed wind. The king and courtiers, adorned yet composed, watch with awe as lotus petals drift through the air, hinting at cosmic causality behind human emotion.","primary_figures":["Kāma (personified desire)","a dhārmic king (mahārāja)","court sages/ministerial attendants"],"setting":"pillared palace hall with carved lotuses, incense braziers, and a distant view of a river terrace beyond the arches","lighting_mood":"temple lamp-lit with sudden divine radiance around Kāma","color_palette":["sapphire blue","lotus pink","antique gold","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: Kāma appearing in a royal sabhā before a mahārāja, haloed with gold leaf radiance; ornate pillars with lotus carvings, rich red and green textiles, gem-studded ornaments, stylized faces, thick gold outlines, and embossed gold leaf around Kāma’s aura and the king’s crown.","pahari_prompt":"Pahari miniature style: a refined palace court scene with delicate brushwork; Kāma’s arrival shown as a soft spiral of fragrance and petals, cool pastel architecture, lyrical expressions of wonder on the king and attendants, fine jewelry details, and a distant river terrace framed by arches.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; Kāma with characteristic large eyes and floral motifs, the king seated in formal posture, lamp-lit palace interior, red-yellow-green dominant palette, decorative borders with lotus and creepers.","pichwai_prompt":"Pichwai cloth painting style: a symbolic court tableau where lotus motifs and floral borders dominate; Kāma’s aura rendered as concentric lotus rings, deep indigo background with gold highlights, peacocks at the margins, intricate vine patterns framing the king’s dais."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft mridanga pulse","temple bells","incense crackle","hushed court ambience"]}
Sandhi Resolution Notes: केनाप्युक्तम् = केन + अपि + उक्तम्; समायातः (सम्+आ+यातः).
FAQs
Here ‘Kāma’ can denote the deity Kāma (Cupid) as well as the principle of desire; the phrase “mūrtimantaḥ/embodied” supports the sense of a personified deity appearing in form.
It indicates Kāma’s arrival is not random but prompted—someone invoked or requested his presence, suggesting a narrative setup for temptation, testing, or a plot involving desire.
It frames the addressed king (or those being described) as virtuous and well-intentioned, implying that the forthcoming encounter with Kāma concerns how virtue engages with desire—through restraint, discernment, or rightful conduct.