Shloka 43
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
नामधेयानि च तथा तथा सौमित्रिसंगतम् । इंद्रनीलं महानादं तथा च प्रियमेलकम्
nāmadheyāni ca tathā tathā saumitrisaṃgatam | iṃdranīlaṃ mahānādaṃ tathā ca priyamelakam
Dan demikian juga disebutkan nama-nama: Saumitrisaṅgata, Indranīla, Mahānāda, serta Priyamelaka.
Unspecified in the provided excerpt (context needed from surrounding verses to confirm the dialogue frame).
Concept: Smaraṇa (recollection) and nāma-ucchāraṇa (uttering sacred names) support ritual correctness and transmit dharmic geography.
Application: When performing ancestral rites or pilgrimages, keep a disciplined practice of learning and reciting the correct names of tirthas/offerings; treat accurate remembrance as a devotional act.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A palm-leaf manuscript lies open on a low wooden desk as a sage points to a list of sacred names being carefully copied by a disciple. Behind them, faint visionary silhouettes of distant tīrthas shimmer like mirages, suggesting that mere utterance summons their sanctity.","primary_figures":["a venerable ṛṣi (teacher)","a young śiṣya (scribe)","subtle presences of Pitṛs (ancestral spirits)"],"setting":"forest āśrama study space with a small śrāddha altar, kusa grass, and a water pot; manuscript shelves and a sacrificial ladle nearby","lighting_mood":"temple lamp-lit","color_palette":["aged parchment beige","sandalwood brown","smoke gray","deep maroon","soft gold"],"tanjore_prompt":"Tanjore painting style: a seated sage instructing a disciple who writes sacred tīrtha-names on palm leaves; gold leaf halo around the sage, ornate borders, rich maroon and emerald textiles, gem-studded ornaments on ritual vessels, subtle divine glow suggesting sanctity of names.","pahari_prompt":"Pahari miniature style: intimate āśrama scene with delicate brushwork; a guru points to a manuscript list of names while a disciple writes; cool greens and browns, lyrical trees and distant hills, refined faces, minimal but precise ritual items (kusa, kamaṇḍalu).","kerala_mural_prompt":"Kerala mural style: bold black outlines; guru and disciple in profile near a small śrāddha altar; warm red/yellow/green pigments; stylized eyes; manuscript rendered as a sacred object with decorative motifs; faint ancestral figures in the background.","pichwai_prompt":"Pichwai cloth painting style: central manuscript and ritual altar framed by lotus and floral borders; peacocks perched on branches; deep indigo background with gold highlights; the act of writing sacred names depicted as devotional offering, with subtle Vaishnava symbols (conch, discus motifs) in the border."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft palm-leaf rustle","low temple bell","forest birds","gentle incense crackle"]}
Sandhi Resolution Notes: सौमित्रिसंगतम् = सौमित्रि-संगतम् (समास/सन्धि-विग्रह); प्रियमेलकम् = प्रिय-मेलकम् (समास-विग्रह).
FAQs
The verse functions as a list of nāmadheyas (names/appellations), most plausibly place-names (toponyms) in a tīrtha/geographical catalogue context, though confirmation requires the surrounding verses.
‘Saumitra’ commonly denotes Lakṣmaṇa; a name like Saumitrisaṅgata suggests a location associated with Lakṣmaṇa (Saumitra), reflecting how Purāṇic geography often preserves devotional memory through place-names.
Indirectly, such catalogues emphasize remembrance and pilgrimage—learning and reciting sacred names and places as a way to orient one’s life toward dharma and sacred history.