Shloka 89
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
युष्माकं मां पुरस्कृत्य तेषां रोगभयं कुतः । येषु राष्ट्रेषु युष्माकमुत्सवाः पूजनादिकाः
yuṣmākaṃ māṃ puraskṛtya teṣāṃ rogabhayaṃ kutaḥ | yeṣu rāṣṭreṣu yuṣmākamutsavāḥ pūjanādikāḥ
Apabila mereka menempatkan aku di hadapan sebagai dewa penaung, bagaimana mungkin ada ketakutan penyakit bagi mereka—di negeri-negeri tempat perayaan, pemujaan dan upacara kalian dilaksanakan dengan tertib?
Unspecified in provided excerpt (context needed to confirm the dialogue speaker within Adhyaya 34).
Concept: When the Lord is placed ‘in front’ (puraskṛtya)—as the guiding center of life—collective well-being follows, including freedom from disease-fear.
Application: Keep a regular rhythm of worship at home/temple; support community festivals with ethical conduct, cleanliness, and charity—devotion expressed as public service.
Primary Rasa: shanta
Secondary Rasa: vira
Type: city
Visual Art Cues: {"scene_description":"A thriving ancient city where a grand temple festival proceeds: banners, lamps, and flower garlands line the streets. The presiding deity’s icon is carried at the forefront on a palanquin, and the air feels purified—citizens appear healthy, joyful, and protected.","primary_figures":["presiding deity icon (Vishnu or local Vishnu-murti)","temple priests","citizens","musicians with drums and conch"],"setting":"city streets leading to a Vishnu temple, festival procession with mandapas and toranas","lighting_mood":"temple lamp-lit","color_palette":["vermillion red","antique gold","indigo blue","jasmine white","leaf green"],"tanjore_prompt":"Tanjore painting style: Vishnu temple procession with the deity on a jeweled palanquin at the forefront, priests holding lamps and conch, citizens offering flowers, heavy gold leaf on crowns and arches, rich reds and greens, gem-like ornamentation, symmetrical festival grandeur.","pahari_prompt":"Pahari miniature style: lyrical city-festival scene with delicate figures, refined faces, soft pastel architecture, the deity palanquin moving through a flower-strewn street, cool blues and warm saffrons balanced, distant trees and gentle sky wash, intricate textile patterns.","kerala_mural_prompt":"Kerala mural style: bold outlines and rhythmic procession, Vishnu icon with stylized large eyes and ornate crown, drummers and conch-blowers, lamp flames rendered in warm yellows, temple-wall composition with red/yellow/green dominance and decorative borders.","pichwai_prompt":"Pichwai cloth painting style: festival utsava with deep blue background, golden lamps, lotus and floral borders, central deity palanquin framed by peacocks and cows, intricate patterns on garments, celebratory yet devotional Nathdwara-inspired detailing."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","conch shell","mridanga drums","crowd murmur","chanting of divine names"]}
Sandhi Resolution Notes: युष्माकमुत्सवाः = युष्माकम् + उत्सवाः; पूजनादिकाः = पूजन + आदिकाः
FAQs
Yes. The verse links the proper performance of festivals (utsava) and worship (pūjā) with the absence of “roga-bhaya” (fear of disease), framed as a protective result of honoring the presiding deity.
It means “placing me in front/at the forefront,” i.e., giving primary honor to the deity as the chief focus of communal rites such as festivals and worship.
It emphasizes collective religious observance—public festivals and regular worship—as a dharmic practice believed to bring protection and well-being to a community or region.