Shloka 34
The Vow of the Bed of Good Fortune (Saubhāgya-śayana) and the Saubhāgyāṣṭaka
प्रीयतां मेत्र ललिता ब्राह्मणाय निवेदयेत् । एवं संवत्सरं यावत्तृतीयायां सदा नृप
prīyatāṃ metra lalitā brāhmaṇāya nivedayet | evaṃ saṃvatsaraṃ yāvattṛtīyāyāṃ sadā nṛpa
“ขอให้ลลิตาโปรดปรานแก่ข้าพเจ้า; ของบูชานี้พึงถวายแด่พราหมณ์” ดังนี้แล โอ้พระราชา พึงกระทำเป็นนิตย์ในวันตฤติยา (ขึ้น/แรม ๓ ค่ำ) ตลอดหนึ่งปี
Unspecified (contextual narrator addressing a king: “nṛpa”)
Concept: Regular, time-bound giving (dāna) and consecrated offering on tṛtīyā cultivates purity and divine pleasure through disciplined repetition.
Application: Choose a sustainable monthly observance (e.g., tṛtīyā) for one year: prepare a simple sattvic offering, dedicate it to the Lord, and give to a worthy recipient with humility and consistency.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A calm domestic shrine scene where a devotee prepares a small ‘Lalitā’ offering on the bright tṛtīyā, then respectfully presents it to a serene brāhmaṇa seated on a kusa mat. The calendar wheel of twelve months appears subtly behind, suggesting the yearlong vow and steady repetition.","primary_figures":["devotee (householder)","brāhmaṇa recipient","Vishnu (subtle presence as shrine icon or śālagrāma)"],"setting":"courtyard shrine with tulasi planter, brass lamps, kusa mat, offering tray with flowers and rice; a lunar calendar motif indicating tṛtīyā","lighting_mood":"temple lamp-lit","color_palette":["lamp-gold","lotus pink","sandalwood beige","deep vermilion","emerald green"],"tanjore_prompt":"Tanjore painting style: a South Indian courtyard shrine with a central Viṣṇu icon/śālagrāma on a pedestal, gold-leaf halo and ornate arch; a householder offers a tray labeled ‘Lalitā’ to a dignified brāhmaṇa seated on a kusa mat; rich reds and greens, gem-studded ornaments, intricate floral borders, luminous gold leaf emphasizing the vow’s sanctity.","pahari_prompt":"Pahari miniature style: a lyrical domestic veranda with delicate linework; the devotee gently hands an offering to a calm brāhmaṇa; a faint moon-phase strip highlights tṛtīyā; cool pastel palette with refined faces, soft foliage, and a small tulasi plant near the threshold.","kerala_mural_prompt":"Kerala mural style: bold black outlines and natural pigments; shrine niche with Viṣṇu presence, lamp flames, and stylized lotus motifs; the devotee and brāhmaṇa in frontal grace, large expressive eyes, red/yellow/green dominance, emphasizing ritual order and serenity.","pichwai_prompt":"Pichwai cloth painting style: a devotional courtyard with lotus and floral borders; central Viṣṇu/Śrī Kṛṣṇa emblem above the offering exchange; intricate patterns, peacocks near the tulasi planter, deep blues and gold accents, tṛtīyā moon motif in the upper border."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["temple bells","soft conch shell","oil-lamp crackle","gentle silence"]}
Sandhi Resolution Notes: IAST metra likely for me + atra (मेऽत्र) or me + itra; text shows मेत्र. Interpreted as मे + इत्र (here). yāvattṛtīyāyāṃ → यावत् + तृतीयायाम्.
FAQs
It prescribes regularly offering (nivedayet) something called “Lalitā” to a brāhmaṇa on the tṛtīyā (third lunar day) for a full year.
In Purāṇic vrata and dāna contexts, brāhmaṇas are traditional recipients because gifting to them is treated as a meritorious act that supports sacred learning and ritual continuity.
Consistency in disciplined giving—performed on a regular sacred schedule—is presented as a key element of religious life, emphasizing sustained commitment rather than sporadic piety.