Shloka 196
Slaying of Andhaka; Hymn to the Sun; Glory of Brahmins; Gayatri Nyasa and Pranayama
चतुर्णामपि वेदानां फलं प्राप्नोत्यसंशयम् । त्रिसंध्यं यो जपेन्नित्यं गायत्रीं हायनं द्विजः
caturṇāmapi vedānāṃ phalaṃ prāpnotyasaṃśayam | trisaṃdhyaṃ yo japennityaṃ gāyatrīṃ hāyanaṃ dvijaḥ
Ohne Zweifel erlangt der Dvija (Zweimalgeborene), der die Gāyatrī regelmäßig zu den drei täglichen Sandhyās ein volles Jahr lang rezitiert, die Frucht aller vier Veden.
Unspecified (narrative voice not provided in the excerpt)
Concept: Consistent thrice-daily Gāyatrī recitation for a year yields the fruit of studying all four Vedas—practice can substitute for vast textual mastery when performed with niyama.
Application: Choose a sustainable routine (short but unwavering) at the three junctions of day; track continuity for a year as a vow of steadiness (niyama).
Primary Rasa: shanta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A calendar-like mandala encircles the central figure: the dvija chants at dawn, noon, and dusk, shown in three small vignettes around him, while the four Vedas appear as four luminous scrolls or sages at the corners. A subtle ring of twelve month-flowers (one per month) completes the year, signifying sustained practice culminating in Vedic fruit.","primary_figures":["a dvija practitioner","personified Four Vedas (Ṛg, Yajur, Sāma, Atharva)"],"setting":"Simple courtyard with a sandhyā platform; sky transitions marking three times of day; symbolic month-ring","lighting_mood":"divine radiance with time-lapse feel","color_palette":["sunrise gold","midday white","twilight purple","palm-leaf tan","sacred ash gray"],"tanjore_prompt":"Tanjore painting style: central seated chanter with gold-leaf halo; three surrounding mini-scenes for tri-sandhyā; four Veda-personifications in corner niches with gilded palm-leaf manuscripts; ornate gold border with twelve floral medallions for months; rich maroon and emerald garments, heavy jewelry, embossed gold detailing.","pahari_prompt":"Pahari miniature style: circular composition with three sky-bands (dawn/noon/dusk) around a calm chanter; four gentle sages holding manuscripts at the edges; delicate month-flowers in the border; cool, refined palette with lyrical natural elements and fine brushwork.","kerala_mural_prompt":"Kerala mural style: tri-sandhyā shown as three horizontal registers; central figure repeated in each register; four Vedas as stylized manuscript icons; bold outlines, flat pigments, temple-wall symmetry, dominant red/yellow/green with black contours.","pichwai_prompt":"Pichwai cloth painting style: mandala of twelve lotus rosettes for months; central japa figure; four manuscript motifs in the corners; intricate floral borders and peacock pairs; deep blue ground with gold and white detailing, devotional textile richness."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"authoritative","sound_elements":["three bell strikes marking sandhyā","conch at dawn (soft)","midday stillness","evening lamp crackle","low drone (tanpura)"]}
Sandhi Resolution Notes: caturṇām + api → caturṇāmapi; prāpnoti + asaṃśayam → prāpnotyasaṃśayam; tri + saṃdhyam → trisaṃdhyaṃ; japen + nityaṃ → japennityaṃ (n→nn by sandhi).
FAQs
It prescribes daily Gāyatrī-japa performed at the three Sandhyā times (morning, noon, and evening) continuously for one year.
The verse addresses a “dvija,” i.e., a twice-born (initiated) person—traditionally one who has received Vedic initiation and performs Sandhyā rites.
Steady daily discipline and faithful repetition (japa) are presented as a powerful means to internalize Vedic wisdom, yielding results comparable to extensive Vedic study.