Shloka 78
Mārkaṇḍeya’s Birth and Boon; Puṣkara’s Glory; Rāma’s Śrāddha; Refuge-Hymn to Śiva
देवरातः शमीकश्च षडेते वै द्विजोत्तमाः । श्राद्धे च ते महाबाहो संभारांस्त्वमुपाहर
devarātaḥ śamīkaśca ṣaḍete vai dvijottamāḥ | śrāddhe ca te mahābāho saṃbhārāṃstvamupāhara
Devarāta dan Śamīka—keenam mereka ini benar-benar dvija yang utama. Dan untuk upacara śrāddha, wahai yang berlengan perkasa, bawalah segala bahan yang diperlukan.
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Śrāddha succeeds through proper recipients (dvijottamas) and complete, timely ritual materials.
Application: When performing family rites or charity, prioritize integrity: choose worthy recipients, prepare thoughtfully, and treat obligations to elders/ancestors as sacred service.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A disciplined householder stands in a courtyard altar-space, respectfully inviting revered dvijas named in the rite. Brass vessels, darbha grass, and neatly arranged offering trays signal meticulous śrāddha preparation, while a calm, ancestral presence is suggested through subtle, translucent silhouettes near the fire.","primary_figures":["gṛhastha yajamāna","dvijottama brāhmaṇas (Devarāta, Śamīka and others)","pitṛs (subtle, ethereal presence)"],"setting":"A traditional āśrama-courtyard with a small vedi, darbha mats, water pots, and offering plates; sacred thread and ritual implements prominently placed.","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","smoke gray","copper bronze","ivory white","deep maroon"],"tanjore_prompt":"Tanjore painting style: a śrāddha courtyard scene with the yajamāna offering arghya to seated dvijottamas, gold leaf highlighting the vedi, brass vessels, and sacred thread; rich reds and greens in textiles, gem-studded ornaments on ritual vessels, traditional South Indian iconographic symmetry, faint golden aura suggesting pitṛ presence.","pahari_prompt":"Pahari miniature style: delicate śrāddha gathering in an āśrama courtyard, refined faces of brāhmaṇas, soft earth-tones, detailed darbha grass and copper pots, lyrical trees framing the scene, gentle atmospheric perspective and calm compositional balance.","kerala_mural_prompt":"Kerala mural style: bold black outlines of the yajamāna and brāhmaṇas seated on mats, stylized ritual vessels, warm red/yellow/green pigments, large expressive eyes, temple-wall aesthetic with a subtle haloed suggestion of pitṛs behind the vedi.","pichwai_prompt":"Pichwai cloth painting style: a devotional domestic ritual scene bordered by intricate floral patterns and lotus motifs; central śrāddha vedi with offerings, peacocks in the border, deep blues and gold accents; Vaishnava undertone with a small Śālagrāma/Viṣṇu symbol on the altar cloth."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","low fire crackle","water poured into a copper lota","distant birds"]}
Sandhi Resolution Notes: शमीकश्च = शमीकः + च; षडेते = षट् + एते; संभारांस्त्वम् = संभारान् + त्वम्.
FAQs
It frames śrāddha as a formal dharmic rite requiring proper preparation (saṃbhāra) and the involvement of qualified dvijas (dvijottamāḥ), emphasizing ritual correctness and respect for learned Brahmins.
They are named as exemplary “twice-born” (dvijottamāḥ). The verse itself does not supply further identification; confirming their exact role requires the surrounding narrative context of Adhyaya 33.
It highlights responsibility and diligence in performing ancestral duties: one should not treat śrāddha casually, but prepare the rite properly and honor the worthy recipients involved in the ritual.