Shloka 44
The Vow of the Bed of Good Fortune (Saubhāgya-śayana) and the Saubhāgyāṣṭaka
जपाकुसुंभकुसुमं मालती शतपत्रिका । यथालाभं प्रशस्तानि करवीरं च सर्वदा
japākusuṃbhakusumaṃ mālatī śatapatrikā | yathālābhaṃ praśastāni karavīraṃ ca sarvadā
زهرة الجَبا (الكركديه)، وزهرة الكُسُمْبها (العُصْفُر)، والمَالاتي (الياسمين)، والزهرة ذات المئة بتلة—كلها محمودة إذا قُدِّمت بحسب المتاح؛ والكَرَفِيرَا (الدِّفلى) مقبولٌ دائمًا.
Not explicitly stated in the provided excerpt (context-dependent within Adhyaya 29 dialogue).
Concept: Sincerity and appropriateness in worship matter more than rarity; offerings made ‘as available’ are praised when aligned with vidhi and bhakti.
Application: Offer what is ethically obtained and locally available; keep worship sustainable—avoid vanity, harm, or extravagance in the name of devotion.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A quiet shrine space where a devotee arranges hibiscus, safflower, jasmine mālatī, and a many-petalled blossom in brass plates, each flower freshly rinsed and placed with care. A small garland of karavīra rests beside a lamp, suggesting ‘always acceptable’ offerings, while the altar glows with restrained sanctity.","primary_figures":["devotee (householder)","family priest (optional)","deity icon (Vishnu or Shiva as per chapter context)"],"setting":"Domestic altar or small temple mandapa with brass vessels, flower baskets, and a clean stone/metal mūrti on a pedestal.","lighting_mood":"temple lamp-lit","color_palette":["hibiscus crimson","safflower orange","jasmine white","leaf green","brass gold"],"tanjore_prompt":"Tanjore painting style: a compact shrine scene with a central deity icon on a jeweled pedestal, devotees offering hibiscus and jasmine; heavy gold leaf halos, rich vermilion and emerald textiles, gem-studded ornaments, ornate arch (prabhavali), crisp floral detailing and polished brass vessels.","pahari_prompt":"Pahari miniature style: an intimate courtyard shrine with delicate brushwork; a devotee holding a plate of hibiscus, safflower, mālatī and many-petalled flowers; cool pastel background, lyrical trees and creepers, refined faces, thin white outlines, gentle atmospheric depth.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; a lamp-lit sanctum with stylized lotus motifs; devotee presenting red hibiscus and white jasmine; warm ochres, deep greens, and vermilion accents; large expressive eyes and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: a devotional floral offering tableau with lotus borders and intricate creepers; central deity niche framed by garlands; hibiscus crimson and jasmine white scattered like rangoli; deep indigo background with gold highlights and peacock-feather flourishes."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft conch shell","lamp crackle","gentle silence"]}
Sandhi Resolution Notes: japākusuṃbhakusumaṃ is treated as two coordinated items: japā-kusumam + kusumbha-kusumam.
FAQs
It lists flowers considered suitable for worship and emphasizes yathālābha—offering what one can readily obtain—rather than insisting on rare or costly items.
It supports a principle of sincere, accessible devotion: worship is validated by intention and appropriateness, not by extravagance.
Within many Purāṇic and ritual traditions, certain offerings are treated as universally permitted; here, karavīra is presented as consistently approved (sarvadā), indicating broad ritual acceptability in this context.