Shloka 28
Yayāti Ensnared by Desire: Gandharva Marriage, Aśvamedha, and the Demand to See the Worlds
दीनेषु च विशेषेण ययातिः पृथिवीपतिः । यज्ञांते च महाराजस्तामुवाच वराननाम्
dīneṣu ca viśeṣeṇa yayātiḥ pṛthivīpatiḥ | yajñāṃte ca mahārājastāmuvāca varānanām
และโดยเฉพาะในหมู่ผู้ยากไร้ พระยายาติผู้เป็นเจ้าแห่งแผ่นดินทรงเป็นผู้เลิศยิ่ง ครั้นยัญสิ้นสุด มหาราชได้ตรัสกับนางผู้มีพักตร์งามนั้น
Narrator (describing King Yayāti)
Concept: Rājadharma is proven by compassion and active support of the poor, especially after yajña when merit is to be shared.
Application: Treat charitable giving and respectful speech as the ‘completion’ of one’s achievements; after any success, consciously share resources with those in need.
Primary Rasa: karuna
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"At the closing of a grand yajña, King Yayāti stands beside the smoldering altar, his posture calm and protective. Around him, humble petitioners and the poor receive attention and gifts, while a radiant, fair-faced woman waits as the king turns to address her with measured tenderness.","primary_figures":["King Yayāti","fair-faced woman (varānanā)","priests (ṛtvij)","poor petitioners"],"setting":"yajña-śālā with vedi altar, ladles, soma vessels, banners, and a gathered court at the sacrifice’s conclusion","lighting_mood":"temple lamp-lit","color_palette":["saffron orange","smoke gray","ivory white","emerald green","antique gold"],"tanjore_prompt":"Tanjore painting style: King Yayāti at the yajña’s end, standing near a gold-embellished fire altar, offering compassionate attention to poor petitioners; the varānanā woman in rich silk stands to the side; heavy gold leaf halos, gem-studded ornaments, deep red and green textiles, traditional South Indian iconographic symmetry, ornate arch framing the sacrificial pavilion.","pahari_prompt":"Pahari miniature style: a lyrical yajña courtyard with delicate figures—Yayāti in pale gold garments, priests by the altar, poor villagers at the edge receiving alms; the fair-faced woman in soft pink veil; cool, refined palette with detailed flora, gentle facial features, and airy architectural lines.","kerala_mural_prompt":"Kerala mural style: bold-outlined king beside a stylized yajña fire, priests with ritual implements, the varānanā with large expressive eyes; flat temple-wall composition, natural pigments, dominant reds/yellows/greens, rhythmic ornamentation around the pavilion.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial pavilion with lotus borders and floral vines; central royal figure near the sacred fire, attendants distributing gifts to the poor; peacocks and stylized lotuses in the margins, deep indigo background with gold detailing, devotional textile symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["crackling sacrificial fire","soft temple bells","murmur of priests","conch shell (closing rite)"]}
Sandhi Resolution Notes: यज्ञांते = यज्ञान्ते (अनुस्वार-लेखनभेद). महाराजस्तामुवाच = महाराजः + ताम् + उवाच (ः + त → स्; ताम् + उवाच → तामुवाच).
FAQs
It praises a king’s dharma as special care for the poor (dīneṣu viśeṣeṇa), presenting compassion and generosity as royal excellence.
It sets the narrative moment: after completing the yajña, the king formally speaks, implying that righteous speech and decisions follow sacred duty and ritual completion.
The verse only indicates a woman being addressed (varānanām) without naming her here; her identity would be clarified by adjacent verses in the chapter.