Dhvajāropaṇa and Dhvajāgopaṇa: Procedure, Stotra, and Phala (Merit) of Raising Viṣṇu’s Flag
ततो मङ्गलवाद्यैश्च सूक्तपाठैश्च शौभनम् । नृत्यैश्च रतोत्रपठनैर्नयेद्विष्णवालये ध्वजम् ॥ १८ ॥
tato maṅgalavādyaiśca sūktapāṭhaiśca śaubhanam | nṛtyaiśca ratotrapaṭhanairnayedviṣṇavālaye dhvajam || 18 ||
ثمّ، مع الآلات الموسيقية المباركة، ومع تلاوة السُوكتا المقدّسة، وباحتفالٍ بهيّ، ومع الرقص وإنشاد الستوترات المادحة، ينبغي حمل الراية (دْهْفَجَا) إلى معبد فيشنو.
Narada (in instruction, within the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It frames the dhvaja (temple banner) procession as a complete act of bhakti—sound (mangala instruments), mantra (sūkta recitation), and joyful offering (dance and stotra)—directed to Viṣṇu’s abode, sanctifying the rite through auspiciousness and praise.
Bhakti here is expressed as shared, celebratory worship: devotees physically carry the dhvaja while simultaneously offering voice and attention through sūktas and stotras, making the procession itself a moving act of remembrance and glorification of Viṣṇu.
The verse emphasizes correct liturgical practice—structured recitation of sūktas and stotras in an auspicious ritual setting—pointing to applied śikṣā (proper chanting/phonetics) and kalpa-style procedural discipline in temple worship.