ऋषभं त्रिसुपर्णं च दुर्गां सावित्रमेव च । बृहदारण्यकं चैव बृहत्साम तथोत्तरम्
ṛṣabhaṃ trisuparṇaṃ ca durgāṃ sāvitrameva ca | bṛhadāraṇyakaṃ caiva bṛhatsāma tathottaram
(Er rezitierte) den Ṛṣabha‑Hymnus, den Trisuparṇa‑Hymnus, den Durgā‑Hymnus und den Sāvitra (Gāyatrī); ebenso das Bṛhadāraṇyaka (Upaniṣad), das Bṛhatsāman und gleicherweise das ‘Uttara’, den ergänzenden Gesang.
Narrator in the Revā Khaṇḍa (contextual purāṇic voice; likely Sūta/Lomaharṣaṇa relating the māhātmya)
Tirtha: Revā/Narmadā (contextual)
Type: river
Scene: A disciplined ascetic or brāhmaṇa sits on a riverbank altar with kuśa grass, water-pot, and fire; palm-leaf manuscripts and a rosary beside him as he recites successive Vedic hymns and Upaniṣadic passages.
Purāṇic devotion is harmonized with Vedic authority: Vedic hymns and Upaniṣadic wisdom are upheld as potent supports for protection and liberation.
The Revā/Narmadā tīrtha setting, where Vedic recitation is presented as part of the sacred power surrounding the river.
Recitation/japa of specific Vedic hymns and revered texts (Sūkta, Sāman, Upaniṣad).