Shloka 130
Puṣkara Sacrifice: Gāyatrī’s Marriage, Sāvitrī’s Wrath, Rudra’s Test, and the Tīrtha-Māhātmya
पशूनामिह गृह्णाना भागं स्वस्व चरोर्मुदा । यज्ञभागार्थिनो देवा विलंबाद्ब्रुवते तदा
paśūnāmiha gṛhṇānā bhāgaṃ svasva carormudā | yajñabhāgārthino devā vilaṃbādbruvate tadā
येथे ते आनंदाने पशू व चरूचे आपापले भाग घेत होते; यज्ञभागाची अपेक्षा करणारे देव विलंबामुळे खिन्न होऊन तेव्हा बोलू लागले.
Narratorial voice (contextual; specific speaker not explicit in the given verse)
Concept: Ritual order (yajña-krama) sustains harmony; even devas depend on properly apportioned offerings.
Application: Honor agreed roles and timelines in communal duties; delays and misallocation breed conflict even in sacred work.
Primary Rasa: adbhuta
Secondary Rasa: raudra
Visual Art Cues: {"scene_description":"A vast sacrificial pavilion thrums with activity: priests move between blazing altars while devas, radiant yet impatient, extend their hands toward steaming oblations. The moment captures a subtle tension—joyful taking of shares turning into murmured complaint at delay, as smoke coils upward like a ladder to heaven.","primary_figures":["Devas (Indra, Agni, Varuṇa as representative)","Brahmin priests","Adhvaryu","Yajamāna (patron)"],"setting":"yajña-śālā with vedi altars, ladles, kusa grass, offering trays, and a central assembly space","lighting_mood":"temple lamp-lit","color_palette":["saffron flame","smoke gray","golden ochre","deep indigo","copper bronze"],"tanjore_prompt":"Tanjore painting style: a grand yajña-sabhā with multiple fire-altars, devas in jeweled crowns receiving havis, priests in white dhotis holding sruk and sruva; heavy gold leaf on divine ornaments and haloed faces, rich vermilion and emerald borders, embossed altar flames, traditional South Indian iconography with gem-studded detailing.","pahari_prompt":"Pahari miniature style: a lyrical sacrificial courtyard with delicate linework, slender devas with refined faces leaning forward in impatience, priests moving in rhythmic procession; cool yet warm-balanced palette, detailed textiles, distant hills and a pale sky, thin smoke trails painted like calligraphy.","kerala_mural_prompt":"Kerala mural style: bold black outlines of devas and priests around a stylized vedi, large expressive eyes, flat yet vibrant fields of red, yellow, and green; the fire rendered as layered lotus-like tongues, ornamental borders resembling temple wall murals.","pichwai_prompt":"Pichwai cloth painting style: a ceremonial pavilion framed by lotus and floral borders, stylized smoke patterns and hanging garlands; devas arranged symmetrically like a court scene, intricate motifs in deep blue and gold, with decorative kalasha and lamp elements filling the margins."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["crackling fire","chanting of priests","clinking ladles","temple bells","conch shell (distant)"]}
Sandhi Resolution Notes: paśūnāmiha = paśūnām + iha; yajñabhāgārthino = yajña-bhāga-ārthinaḥ; vilaṃbādbruvate = vilambāt + bruvate.
FAQs
It highlights the idea that devas are “portion-seekers” in a yajña—receiving allotted shares of offerings—and that disruption or delay in proper distribution prompts a response.
Indirectly: it frames ritual order and rightful offering as part of dharma. In later Padma Purana theology, devotion is often presented as the inner spirit that should accompany outward rites.
It implies that timely, orderly fulfillment of obligations—especially in sacred contexts like yajña—matters, and that neglect or delay can lead to conflict or admonition.