Shloka 47
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
जनन्यथ दिलीपस्य भगीरथपितामही । लोकाः कामदुघा नाम कामभोगफलप्रदाः
jananyatha dilīpasya bhagīrathapitāmahī | lokāḥ kāmadughā nāma kāmabhogaphalapradāḥ
ఆమె దిలీపునికి జనని, భగీరథునికి పితామహి అయ్యెను. ఆమె నుండి ‘కామదుఘా’ అనే లోకాలు ప్రాదుర్భవించి, కోరిన భోగఫలాన్ని ప్రసాదించాయి.
Unspecified narrator (contextual Purāṇic narration; exact dialogue pair not determinable from this single verse alone)
Concept: Cosmic order expresses itself through lineage and realm-structures; enjoyment (kāma-bhoga) is also a ‘phala’ governed by dharma and cosmic allocation, not mere accident.
Application: Treat pleasures as results with causes; cultivate gratitude and restraint, and seek higher aims beyond mere kāma by aligning desires with dharma.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A cosmic genealogy tableau: a radiant matriarchal figure stands beside a stylized royal lineage tree, with Dilīpa and the youthful Bhagīratha shown as luminous descendants. Behind them, ethereal ‘Kāmadhughā’ realms appear as floating lotus-islands spilling streams of jewels, grains, and fragrant blossoms—symbols of desire’s fruits within cosmic order.","primary_figures":["Genealogical mother-figure (unnamed)","King Dilīpa","Bhagīratha","Personified Kāmadhughā-lokas (as celestial maidens or lotus-realms)"],"setting":"Mythic-cosmic space with lotus platforms, faint mandala of lokas, and a royal court motif blended into the heavens.","lighting_mood":"divine radiance","color_palette":["lotus pink","sapphire blue","gold leaf","ivory white","emerald green"],"tanjore_prompt":"Tanjore painting style: a central maternal figure with halo and ornate crown stands before a jeweled lineage-tree; Dilīpa and Bhagīratha in regal attire at her sides; behind them floating lotus-islands labeled as Kāmadhughā-lokas pouring abundance; heavy gold leaf embellishment on halos, jewelry, and borders; rich crimson and emerald textiles; gem-studded ornaments; symmetrical temple-arch framing.","pahari_prompt":"Pahari miniature style: delicate genealogical scene with Dilīpa and young Bhagīratha near a flowering tree of lineage; soft celestial hills and pale sky; Kāmadhughā realms as translucent lotus-clouds releasing flowers and fruits; refined faces, lyrical naturalism, cool blues and greens with gentle pink accents; fine linework and patterned textiles.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; maternal figure with large expressive eyes and ornate headgear; Dilīpa and Bhagīratha in traditional royal costume; stylized lotus-mandala background representing Kāmadhughā-lokas; dominant red, yellow, green palette with gold-toned highlights; temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: lotus-filled cosmic backdrop with ornate floral borders; Kāmadhughā abundance shown as cascading lotuses, fruits, and pearls; royal figures of Dilīpa and Bhagīratha placed in a devotional tableau; deep indigo background with gold detailing, peacocks and cows subtly integrated as prosperity symbols; intricate textile patterns and symmetrical composition."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["tanpura drone","soft temple bells","conch shell (distant)","gentle wind"]}
Sandhi Resolution Notes: jananyatha → जननी + अथ; kāmadughā nāma (no sandhi); kāmabhogaphalapradāḥ is a multi-member tatpurusha compound.
FAQs
This verse is not describing a tīrtha-location; it focuses on royal genealogy (Dilīpa–Bhagīratha) and a cosmological notion of ‘worlds/realms’ (lokāḥ) named Kāmadhughā that grant desired results.
Direct bhakti instruction is not explicit here. The verse instead highlights a Purāṇic theme of phala (results) and special realms that ‘bestow fruits,’ which later sections often contrast with devotion-oriented goals.
Implicitly, it frames desire and enjoyment as ‘result-bearing’ (phala) experiences tied to particular realms, suggesting that pleasures have structured consequences within Purāṇic cosmology rather than being random or consequence-free.