Shloka 43
Duḥṣantasya Vana-praveśaḥ
King Duḥṣanta’s Entry into the Forest Hunt
अशोकैश्नम्पकैश्वूतैरनेकैरतिमुक्तकै: । पुन्नागै: कर्णिकारैश्व वकुलैर्दिव्यपाटलै:
aśokaiś campakaiś cūtair anekair atimuktakaiḥ | punnāgaiḥ karṇikāraiś ca vakulair divya-pāṭalaiḥ ||
Sabi ni Vaiśaṃpāyana: Ang gubat ng hari ay kumislap na parang banal na kakahuyang Caitraratha ng mga diyos. Panahon noon ng tagsibol, at ang kagubatan ay pinalamutian ng sari-saring punongkahoy at baging na namumulaklak—ashoka, campaka, mangga, masaganang atimuktaka na mga baging, punnāga, karṇikāra, vakula, at makalangit na pāṭala—kaya’t ang pook ay kaaya-aya, dalisay, at mapalad ang himig. Sa ganitong tanawin lumilitaw ang karaniwang paghahambing ng epiko: ang kapangyarihang hari at buhay-mundo ay inilalagay sa harap ng isang banal na kaayusan, kung saan ang pagkakaisa ng kalikasan ay sumasalamin sa kasaganaan at matuwid na pamamahala.
वैशम्पायन उवाच
Educational Q&A
The verse primarily teaches through aesthetic suggestion: a well-ordered, auspicious natural world is used as a mirror for rightful kingship and prosperity. By likening the king’s forest to the gods’ Caitraratha grove, the narrative implies that harmony, purity, and abundance are signs of a realm aligned with auspicious order.
Vaiśampāyana describes a forest associated with the king, portraying it in springtime splendor. Numerous fragrant and flowering trees and creepers are listed, and the grove is compared to the divine Caitraratha forest of the gods, emphasizing its extraordinary beauty and sanctity.