The Description of the Worship of Rāma and Others
Rāmādi-pūjā-vidhāna
रामायाकुंठशब्दांतं तेजसे च समीरयेत् । उत्तमश्लोकधुर्याय स्वं भृगुः कामिकान्वितः ॥ १२६ ॥
rāmāyākuṃṭhaśabdāṃtaṃ tejase ca samīrayet | uttamaślokadhuryāya svaṃ bhṛguḥ kāmikānvitaḥ || 126 ||
ينبغي أن يُتلى الذِّكر الذي يبتدئ بـ«راما» ويُختَم بكلمة «أكونثا»، ويُرتَّل أيضًا لزيادة التَّيجَس، أي الإشراق الروحي. وهكذا قدَّم الحكيم بهريغو—المقرون بالنية المنشودة—تسبيحه الخاص إلى الرب الأسمى الذي تُشاد به الأبيات الرفيعة (فيشنو).
Narrative voice within the Vedanga/technical instruction section (attributed in this flow to Narada teaching in a technical context)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shanta
It links correct utterance/intonation of a specific divine formula (from “Rāmā” up to “Akuṇṭha”) with the cultivation of tejas (spiritual radiance), presenting Bhṛgu’s act as an exemplar of offering directed to Uttamaśloka (Viṣṇu).
Bhakti is expressed here as focused recitation and dedicated offering: the act is aimed at Uttamaśloka (Viṣṇu), and the devotee’s intention (kāmika) is aligned with divine praise and remembrance.
It reflects Śikṣā/Vedāṅga practice—precise vocalization and structured mantra boundaries (beginning/ending markers)—showing that correct recitation is treated as a technical means toward spiritual effect (tejas).