Shloka 77
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
अदैवतं विजानीयात्पार्वणं पर्व सुस्मृतम् । पार्वणं त्रिविधं प्रोक्तं शृणु यत्नान्महीपते
adaivataṃ vijānīyātpārvaṇaṃ parva susmṛtam | pārvaṇaṃ trividhaṃ proktaṃ śṛṇu yatnānmahīpate
Man soll erkennen, dass das «adaivata» der Pārvaṇa-Ritus ist, wohlbekannt als Parvan-Observanz. Der Pārvaṇa ist als dreifach erklärt worden — höre aufmerksam zu, o König.
Unspecified narrator addressing a king (mahīpati)
Concept: Ritual categories must be correctly understood before performance; dharma begins with right definition (saṃjñā) and careful listening (śravaṇa).
Application: Before undertaking any vow, worship, or family rite, learn its proper classification, eligibility, and method from reliable sources; avoid improvisation in sacred duties.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A learned narrator sits on a kusa-grass seat in a quiet sacrificial hall, addressing a crowned king who listens with folded hands. Behind them, a low altar holds ladles, darbha, and a manuscript bundle, suggesting the careful classification of rites before action begins.","primary_figures":["narrator-sage","mahīpati (king)","attendant brāhmaṇas"],"setting":"a palace-adjacent yajñaśālā with ritual implements, palm-leaf manuscripts, and a small fire altar","lighting_mood":"temple lamp-lit","color_palette":["saffron ochre","smoke gray","palm-leaf tan","deep maroon","golden amber"],"tanjore_prompt":"Tanjore painting style: a seated sage-teacher instructing a jeweled-crowned king in a palace yajñaśālā, small fire altar and ritual vessels in foreground, ornate arches and pillars, gold leaf halos and borders, rich reds and greens, gem-studded ornaments, traditional South Indian iconography with crisp symmetry.","pahari_prompt":"Pahari miniature style: an intimate teaching scene—sage on kusa mat explaining parvan rites to a respectful king, delicate brushwork, soft facial expressions, muted earth tones with cool accents, a small altar and manuscripts, lyrical naturalism and fine textile patterns, distant hills hinted beyond a pavilion.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm red/yellow/green pigments, sage and king in profile within a temple-like hall, stylized fire altar and ritual vessels, large expressive eyes, decorative floral borders, calm didactic mood.","pichwai_prompt":"Pichwai cloth painting style: a devotional-ritual tableau with ornate borders of lotus and tulasi motifs framing a teaching assembly; central pavilion with sage and king, miniature ritual items, deep indigo background with gold detailing, intricate floral filigree and symmetrical composition."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","low crackle of a small fire","page-rustle of palm-leaf manuscripts","measured silence between phrases"]}
Sandhi Resolution Notes: विजानीयात्पार्वणं = विजानीयात् + पार्वणम्; यत्नान्महीपते = यत्नात् + महीपते.
FAQs
It introduces the Pārvaṇa (a Parvan-related ritual observance) and states that it is classified into three types, inviting the listener (a king) to hear the detailed explanation.
‘Mahīpate’ means “lord of the earth,” i.e., a king. The verse is framed as instruction delivered to a royal listener, though the specific king is not named in the provided excerpt.
Because the topic is a technical dharma-ritual classification (the threefold nature of the Pārvaṇa), the verse signals that careful attention is needed to grasp distinctions and proper practice.