Shloka 19
Praise of Digging Wells and Building Water-Reservoirs
The Merit of Water-Works
तत्संख्याका जनास्तस्य किंकराः पृष्टलग्नकाः । भवंति सततं गेहे पुरे जनपदेषु च
tatsaṃkhyākā janāstasya kiṃkarāḥ pṛṣṭalagnakāḥ | bhavaṃti satataṃ gehe pure janapadeṣu ca
ผู้คนเท่าจำนวนนั้นย่อมเป็นข้ารับใช้ของเขา คอยติดตามแนบชิดอยู่เบื้องหลังเสมอ ทั้งในเรือน ในพระนคร และทั่วชนบทแห่งแว่นแคว้น
Unspecified (context-dependent within Adhyaya 57; narrator continues the discourse)
Concept: Worldly merit can manifest as expansive social support—attendants and service across one’s domains—yet such power is contingent.
Application: Use influence to protect and serve others (rāja-dharma); avoid confusing loyalty bought by prosperity with genuine dharmic relationship.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: city
Visual Art Cues: {"scene_description":"A prosperous king moves through palace corridors into the city streets and out across fertile countryside, followed by a vast retinue that mirrors his fortune. The attendants cluster close behind—some bearing parasols and chowries, others carrying ledgers and gifts—suggesting how power creates an orbit of service.","primary_figures":["king (reborn beneficiary)","attendants (kiṅkaras)","citizens","village headmen"],"setting":"A palace interior opening to a bustling city gate and then to fields and villages under royal banners.","lighting_mood":"temple lamp-lit","color_palette":["royal maroon","antique gold","jade green","ivory","indigo"],"tanjore_prompt":"Tanjore painting style: king with crown and jeweled ornaments walking from palace to city gate, attendants packed behind with parasols and chowries; gold leaf on jewelry and architecture, rich reds/greens, patterned textiles, ornate pillars and arches.","pahari_prompt":"Pahari miniature style: narrative procession across palace, town, and countryside in continuous landscape; delicate figures, refined faces, soft greens and blues; attendants clustered behind the king, lyrical depiction of janapada with fields and small villages.","kerala_mural_prompt":"Kerala mural style: stylized royal procession with bold outlines; palace and city rendered as temple-wall motifs; attendants in rhythmic repetition behind the king; strong reds/yellows/greens with black contouring.","pichwai_prompt":"Pichwai cloth painting style: processional composition framed by floral borders; repeated attendant motifs like a patterned garland; deep blue background with gold highlights, lotus medallions, symmetrical decorative elements."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["footsteps in corridor","court drums","murmur of crowd","chowry swish"]}
Sandhi Resolution Notes: tat+saṃkhyākāḥ → tatsaṃkhyākā; janāḥ+tasya → janāstasya; bhavanti (spelled bhavaṃti in input) normalized to bhavanti.
FAQs
It describes a result where a person gains attendants/servants in a number matching a previously stated count, and that support follows him everywhere—home, city, and countryside.
Literally “clinging to the back,” it conveys unwavering accompaniment—support that is not occasional but persistently present across all spheres of life.
The verse reinforces the Purāṇic theme of consequences and support structures arising from prior causes (often merit, duty, or benefaction), shaping one’s social and practical life in every setting.