Shloka 6
Yayāti Ensnared by Desire: Gandharva Marriage, Aśvamedha, and the Demand to See the Worlds
तस्मान्न मन्यते कांतं भवंतं गुणसागरम् । राजोवाच । देवयान्या न मे कार्यं शर्मिष्ठया वरानने
tasmānna manyate kāṃtaṃ bhavaṃtaṃ guṇasāgaram | rājovāca | devayānyā na me kāryaṃ śarmiṣṭhayā varānane
เพราะเหตุนั้น นางจึงไม่ยอมรับพระองค์ โอ้ผู้เป็นที่รัก แม้พระองค์จะเป็นดุจมหาสมุทรแห่งคุณธรรมก็ตาม พระราชาตรัสว่า: “โอ้ผู้มีพักตร์งาม เรามิได้ต้องการเทวยานี; เราประสงค์อยู่กับศรมิษฐา”
Rājā (the King) (explicit: rājovāca)
Concept: Attachment and preference, when entangled with rivalry, distort discernment; even acknowledged virtue (‘ocean of qualities’) may be rejected due to relational poison.
Application: Do not let factionalism decide relationships or policy; evaluate people by dharma and conduct, not by reactive preference.
Primary Rasa: raudra
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"In a palace audience hall, the king rises abruptly, his hand lifted in decisive speech, while a noble figure—praised as ‘an ocean of virtues’—stands rejected, eyes steady yet wounded. Two women’s presences are implied through contrasting veils and colors at the edges of the scene, turning the hall into a stage of choice and consequence.","primary_figures":["Rājā (the king)","a virtuous beloved figure (addressed as guṇasāgara)","Devayānī (implied)","Śarmiṣṭhā (implied)","court attendants"],"setting":"Royal sabhā with pillars, throne, and attendants; tension between private desire and public declaration.","lighting_mood":"golden dawn","color_palette":["royal maroon","antique gold","pearl white","indigo","sage green"],"tanjore_prompt":"Tanjore painting style: king in mid-declaration in a jeweled court, gold leaf on throne and ornaments; two feminine figures suggested at either side with contrasting sari colors; the rejected virtuous figure shown calm with a subtle halo, rich reds/greens, ornate arch and gem-studded detailing emphasizing royal drama.","pahari_prompt":"Pahari miniature style: elegant court interior with delicate textiles; the king’s assertive gesture contrasts with the composed sorrow of the virtuous figure; Devayānī and Śarmiṣṭhā indicated through subtle placement and color symbolism, refined facial expressions, cool palette with warm accents.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized sabhā; king’s gesture exaggerated for narrative clarity, large expressive eyes; flat pigments in reds/yellows/greens, decorative borders, moral drama presented like a temple-story panel.","pichwai_prompt":"Pichwai cloth painting style: court scene framed by ornate floral borders; central king and virtuous figure, with two side panels suggesting the two women through symbolic motifs (lotus vs. serpent-vine); deep blue background with gold highlights, intricate patterning."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["court drum (mṛdaṅga) soft roll","conch accent at declaration","anklet chime","brief tense silence"]}
Sandhi Resolution Notes: तस्मात् + न = तस्मान्न. राजा + उवाच = राजोवाच. वर-आनने = वरानने.
FAQs
The speaker is the king, indicated directly by the marker “rājovāca” (“the king said”).
It highlights a conflict between recognized virtue (“ocean of virtues”) and personal choice/attachment in relationships, suggesting that moral excellence alone may not determine acceptance or marital preference.
It anchors the narrative context of Bhūmi-khaṇḍa (Book 2) by preserving dialogue cues and named characters, enabling readers to trace the Devayānī–Śarmiṣṭhā storyline precisely by chapter and verse.