Shloka 67
Pitṛ-tīrtha Context: Marks of Sin, Śrāddha Discipline, and Karmic Ripening
in Yayāti’s Narrative
द्विजायार्थं प्रतिज्ञाय न प्रयच्छति यः पुनः । तत्र विस्मरते विप्रस्तुल्यं तदुपपातकम्
dvijāyārthaṃ pratijñāya na prayacchati yaḥ punaḥ | tatra vismarate viprastulyaṃ tadupapātakam
អ្នកណាដែលបានសន្យាថានឹងផ្តល់អ្វីមួយដើម្បីជាប្រយោជន៍ដល់ព្រាហ្មណ៍ ប៉ុន្តែមិនបានផ្តល់ឱ្យវិញ ប្រសិនបើព្រាហ្មណ៍ភ្លេចរឿងនោះនៅទីនោះ កំហុសនោះត្រូវបានចាត់ទុកថាជា ឧបបាतक (Upapātaka) នៃប្រភេទដូចគ្នា។
Not explicitly specified in the provided excerpt (context needed from surrounding verses).
Concept: Textual colophon sanctifies the narrative by locating it within a tīrtha-mahātmya and ancestral rite context, implying that remembrance, recitation, and pilgrimage-oriented dharma transmit merit across generations.
Application: Use colophons as cues for structured study: complete chapters with a brief prayer, dedicate merit to ancestors, and integrate śrāddha/tarpaṇa with devotional reading.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"A scribe-sage completes a palm-leaf manuscript as the final colophon line is inscribed, while in the background pilgrims perform tarpaṇa at a calm ancestral tīrtha. Above, faint celestial Pitṛs receive the water-offerings, and a subtle lotus motif hints at Padma Purāṇa’s origin from the cosmic lotus.","primary_figures":["scribe (paṭhaka/lekhaka)","pilgrims performing tarpaṇa","celestial Pitṛs (subtle)"],"setting":"riverbank or stepped tīrtha ghat with kuśa grass, water pots, and palm-leaf manuscripts under a banyan tree","lighting_mood":"golden dawn","color_palette":["sandstone beige","river-silver","saffron ochre","banyan green","ink black"],"tanjore_prompt":"Tanjore painting style: a manuscript colophon scene with ornate borders; a seated scribe with palm-leaf and stylus, pilgrims at a ghat offering tarpaṇa; gold-leaf halos for ancestral figures in the sky, rich reds/greens, embossed gold on manuscript edges and ritual vessels.","pahari_prompt":"Pahari miniature style: delicate dawn at a tīrtha ghat, soft washes for water, fine-lined pilgrims with kuśa grass, a scribe under a tree finishing the chapter; cool pastel palette with lyrical landscape and gentle celestial presence of Pitṛs.","kerala_mural_prompt":"Kerala mural style: stylized ghat and banyan, bold outlines; central scribe and tarpaṇa performers, Pitṛs in upper register; earthy reds/yellows/greens, temple-wall composition with decorative lotus and creeper motifs framing the colophon theme.","pichwai_prompt":"Pichwai cloth painting style: ornate border with lotus and floral patterns; central ghat with symmetrical pilgrims offering water, manuscript and stylus as decorative sacred objects; deep blue background with gold highlights, subtle Vaiṣṇava symbols (conch/discus) integrated into the border."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"serene","sound_elements":["flowing water","soft temple bell","rustle of palm leaves","distant conch"]}
Sandhi Resolution Notes: द्विजायार्थं→द्विजाय अर्थम्; विप्रस्तुल्यं→विप्रः तुल्यम्; तदुपपातकम्→तत् उपपातकम्.
FAQs
It teaches that making a promise—especially regarding charity (dāna) meant for a brāhmaṇa—and then failing to fulfill it is a serious moral fault, classified as an upapātaka (a secondary sin).
An upapātaka is a “secondary” or “minor” transgression (compared to mahāpātaka). Here, the text frames the failure to deliver a promised gift as a blameworthy offense with significant moral weight.
The verse suggests that even if the brāhmaṇa forgets or does not press the claim, the ethical burden remains; the wrongdoing is still considered comparable in seriousness, emphasizing personal accountability over external enforcement.