Shloka 113
Pṛthu’s Earth-Milking, the Etymology of ‘Pṛthivī,’ and the Vaivasvata (Solar) Genealogy
अयमश्वोपि नारीत्वमगाद्राज्ञा सहैव तु । इलः पुरुषतामेति यथासौ धनदोपमः
ayamaśvopi nārītvamagādrājñā sahaiva tu | ilaḥ puruṣatāmeti yathāsau dhanadopamaḥ
ม้าตัวนี้เองก็พร้อมกับพระราชา ได้บรรลุภาวะเป็นสตรีในทันที และอิละก็กลับคืนสู่ความเป็นบุรุษอีกครั้ง—ดุจผู้เสมอด้วยธนท (กุเบร) เจ้าแห่งทรัพย์
Narrator (contextual Purāṇic narration; specific dialogue speaker not explicit from the single verse)
Concept: Embodiment is mutable under divine ordinance and karma; identity can be restored or altered according to higher law.
Application: Do not over-identify with transient roles; cultivate steadiness and ethical action amid change.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: forest
Visual Art Cues: {"scene_description":"A royal procession halts at the grove’s edge: the king and his horse are caught in a moment of shimmering transformation, garments and ornaments subtly shifting to feminine forms. In a secondary vignette, Ilā stands restored to manhood, radiant and composed, with a Kubera-like aura of prosperity hinted through overflowing treasure motifs.","primary_figures":["the king (unnamed in verse)","the horse","Ilā (transitioning/restored)","attendants and guards"],"setting":"forest threshold with royal banners, a small reflective pond, and distant shrine silhouettes","lighting_mood":"divine radiance breaking through canopy, like a sudden revelation","color_palette":["royal crimson","burnished gold","leaf green","pearl white","midnight blue"],"tanjore_prompt":"Tanjore painting style: split-panel narrative—left shows king and horse mid-transformation at a forest threshold, right shows Ilā restored, adorned with gold ornaments; heavy gold leaf on crowns, jewelry, and shrine elements; rich reds/greens, ornate borders, stylized foliage.","pahari_prompt":"Pahari miniature style: continuous narrative across a single landscape—procession, pond reflection showing altered forms, and Ilā’s restored figure; delicate faces, fine textiles, cool greens and blues, subtle storytelling details like attendants whispering in awe.","kerala_mural_prompt":"Kerala mural style: iconic figures with bold outlines; transformation suggested through dual-color garments and mirrored silhouettes; strong red/yellow/green palette, temple-wall composition with decorative bands and simplified forest motifs.","pichwai_prompt":"Pichwai cloth painting style: ornate border with lotus and creepers; central scene of transformation framed by peacocks and floral medallions; Ilā’s restored form highlighted with gold detailing; deep indigo background, intricate textile patterning, narrative cartouches."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["murmuring crowd","horse snort fading into silence","wind through leaves","soft drum pulse","conch accent at the moment of change"]}
Sandhi Resolution Notes: अयमश्वोपि = अयम् + अश्वः + अपि; नारीत्वमगात् = नारीत्वम् + अगात्; अगाद्राज्ञा = अगात् + राज्ञा (त् + र → द्र); सहैव = सह + एव; पुरुषतामेति = पुरुषताम् + एति; यथासौ = यथा + असौ.
FAQs
It states that the horse and the king simultaneously became female, and that Ila later returned to a male state—indicating a miraculous transformation episode within the Ila narrative.
“Dhanada” is Kubera, the giver/lord of wealth. The verse uses him as a comparison (“dhanadopamaḥ”), suggesting someone is being described as Kubera-like—i.e., illustrious or eminent.
They are often read as illustrating the supremacy of divine law and karma over bodily identity, and the impermanence of worldly conditions—encouraging detachment and humility.