Shloka 161
The Five Great Sacrifices: Supremacy of Honoring Parents, Pativrata Dharma, Truthfulness, and Śrāddha
अत्यंतघोषणो नृत्यगीतवाद्यादिकैस्सदा । नामस्मरन्द्विजश्रेष्ठ मद्देहे प्रविलीयते
atyaṃtaghoṣaṇo nṛtyagītavādyādikaissadā | nāmasmarandvijaśreṣṭha maddehe pravilīyate
হে দ্বিজশ্ৰেষ্ঠ! যি সদায় উচ্চ ঘোষে নৃত্য-গীত-বাদ্য আদি কৰি নাম-স্মৰণ কৰে, সি মোৰ দেহতেই বিলীন হৈ যায়।
Unspecified (contextual deity/teacher speaking to a brāhmaṇa addressed as 'dvijaśreṣṭha')
Concept: Nāma-smaraṇa joined with exuberant saṅkīrtana (dance, song, instruments) grants intimate union with the Lord.
Application: Add audible nāma-japa or kīrtana to daily routine—sing while doing chores, attend weekly bhajan, or keep a short ‘kīrtana break’ to reset the mind toward devotion.
Primary Rasa: adbhuta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A circle of devotees erupts into saṅkīrtana—hands clapping, feet moving in rhythmic dance, mṛdaṅga and karatālas ringing—while the central deity radiates calm blue light. The air is thick with sacred sound, and the very outlines of the singers shimmer as if their bodies are becoming one with the divine presence they invoke.","primary_figures":["Vishnu (or a radiant Vaiṣṇava deity-form)","kīrtana devotees (men and women)","lead singer (kīrtanīyā)","musicians with mṛdaṅga/karatāla/vīṇā"],"setting":"Temple courtyard or village maṇḍapa with garlands, flags, and a small altar; crowd arranged in a devotional circle.","lighting_mood":"divine radiance","color_palette":["peacock blue","marigold orange","ivory white","emerald green","vermillion"],"tanjore_prompt":"Tanjore painting style: central Viṣṇu icon with gold leaf aura, devotees in dynamic dance poses, richly patterned textiles, gem-like highlights on instruments, ornate archways, festive garlands, strong reds/greens, shimmering gold accents suggesting nāma’s power merging devotees into the deity’s light.","pahari_prompt":"Pahari miniature style: lyrical kīrtana in a palace-courtyard pavilion, delicate lines, cool blues and soft greens, expressive yet refined faces, musicians seated with vīṇā and mṛdaṅga, dancers mid-step, distant hills and flowering trees, subtle rhythmic movement conveyed through flowing garments.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized eyes, rhythmic procession of singers and drummers, Viṣṇu as a calm central figure, red/yellow/green palette, decorative borders with lotus and conch motifs, energetic but iconically ordered composition.","pichwai_prompt":"Pichwai cloth painting style: Kṛṣṇa-centered saṅkīrtana with cows and peacocks at the margins, lotus pond motifs, intricate floral borders, deep blues and gold, devotees in circular formation, hanging lamps and temple flags, dense ornamental detailing capturing the ‘loud jubilance’ (atyanta-ghoṣaṇa)."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"fast-dramatic","voice_tone":"emotional","sound_elements":["mṛdaṅga","karatālas","handclaps","temple bells","crowd response (hari-nāma)"]}
Sandhi Resolution Notes: अत्यंतघोषणो = अत्यन्त-घोषणः (ओ = अः before pause/metrical); नृत्यगीतवाद्यादिकैस्सदा = नृत्य-गीत-वाद्य-आदिकैः + सदा (ः + स → स्स); नामस्मरन् = नाम + स्मरन्; द्विजश्रेष्ठ (समास) = द्विज + श्रेष्ठ; मद्देहे = मत् + देहे.
FAQs
This verse does not describe any tīrtha or sacred geography; it focuses on devotional practice (nāma-smarana) and its salvific result.
It elevates nāma-smarana (remembrance of the divine Name), even when expressed through exuberant kīrtana-like celebration—song, dance, and instruments—as a direct means to union with the divine.
Sincere remembrance and devotion—expressed consistently (sadā) and wholeheartedly—are presented as transformative, outweighing mere external status, even while addressing the listener as an exemplary 'dvija'.