Shloka 19
नास्ति संध्या तपो दानं स्वधास्वाहाविवर्जितम् । हव्यकव्यादिकं नास्ति नैव यज्ञादिका क्रिया
nāsti saṃdhyā tapo dānaṃ svadhāsvāhāvivarjitam | havyakavyādikaṃ nāsti naiva yajñādikā kriyā
Tanpa lafaz suci “svadhā” dan “svāhā”, tiadalah upacara Sandhyā, tiadalah tapa, dan tiadalah sedekah. Tiada persembahan havya-kavya untuk dewa atau leluhur, dan tiada pula amalan ritual seperti yajña.
Unspecified (context-dependent within Bhūmi-khaṇḍa Adhyaya 37)
Concept: A radical ācāra is described: without svadhā/svāhā there is no sandhyā, no tapas, no dāna; no havya-kavya offerings and no yajña-type ritual actions.
Application: Do not discard foundational disciplines (daily prayer, charity, self-restraint) under the pretext of ‘higher’ doctrine; integrate compassion and meditation with gratitude practices and devotional worship.
Primary Rasa: raudra
Secondary Rasa: bibhatsa
Type: temple
Visual Art Cues: {"scene_description":"A deserted ritual courtyard: the fire-altar is cold, ladles lie unused, and the air feels stripped of mantra. In the foreground, a speaker gestures as if erasing practices—sandhyā at dawn, charity, austerity—while shadowy figures of devas and pitṛs fade into the background mist.","primary_figures":["teacher/speaker figure","fading devas and pitṛs (symbolic)","silent onlookers"],"setting":"abandoned yajña-śālā with extinguished kuṇḍa, scattered ritual implements, and a dim horizon where dawn should be","lighting_mood":"ashen dusk","color_palette":["ash white","cold slate","rust red","smoky violet","dull gold"],"tanjore_prompt":"Tanjore painting style: symbolic polemic—extinguished yajña-kuṇḍa and unused ladles in the center, speaker in front with emphatic gesture; gold leaf used for borders and faint halos of fading devas/pitṛs, rich maroons contrasted with ashen grays, ornate frame.","pahari_prompt":"Pahari miniature style: melancholic ritual ground at twilight, delicate rendering of implements and mist; subtle silhouettes of devas/pitṛs dissolving, refined facial expressions of uneasy listeners, restrained palette.","kerala_mural_prompt":"Kerala mural style: bold outlines—cold altar, ritual tools, speaker with intense eyes; stylized fading figures behind, earthy pigments with dominant gray-blue and muted red, decorative border motifs.","pichwai_prompt":"Pichwai cloth painting style: allegorical scene framed by floral borders; extinguished altar as central motif, fading celestial figures in patterned clouds, deep violet/indigo ground with gold highlights and lotus accents."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"fast-dramatic","voice_tone":"authoritative","sound_elements":["abrupt silence","wind over empty courtyard","distant conch (faint)","metallic clink of unused ladle","low ominous drone"]}
Sandhi Resolution Notes: नास्ति = न + अस्ति; स्वधास्वाहाविवर्जितम् = स्वधा + स्वाहा + विवर्जितम्; हव्यकव्यादिकम् = हव्य + कव्य + आदिकम्; नैव = न + एव; यज्ञादिका = यज्ञ + आदिका
FAQs
“Svāhā” is the sacrificial exclamation used when offering into fire for the devas (havya), while “svadhā” is used in rites directed to the ancestors/pitṛs (kavya). The verse treats them as indispensable markers of their respective ritual domains.
It emphasizes the Vedic principle that correct ritual action depends on proper mantras and formal declarations. Without the defining utterances that “seal” offerings and rites, the acts are considered incomplete or non-ritual in the strict sacrificial sense.
The verse underscores discipline and correctness in religious practice: intention alone is not presented as sufficient; one should learn and perform duties with proper method, respect for tradition, and clarity about whom an offering or act is directed to.