Shloka 99
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
दक्षिणाग्नौ प्रणीतेन स एवाग्निर्द्विजोत्तमः । यज्ञोपवीतान्निर्वर्त्य ततः पर्युक्षणादिकम्
dakṣiṇāgnau praṇītena sa evāgnirdvijottamaḥ | yajñopavītānnirvartya tataḥ paryukṣaṇādikam
เมื่อได้นำไฟนั้นไปยังไฟศักดิ์สิทธิ์ฝ่ายทักษิณแล้ว โอ้ผู้ประเสริฐในหมู่ทวิช ไฟดวงเดิมนั้นพึงใช้ให้พิธี “ยัชโญปวีตะ” (สายศักดิ์สิทธิ์) สำเร็จ; แล้วจึงประกอบ “ปริยุักษณะ” (การพรมน้ำ) และกรรมประกอบอื่น ๆ ต่อไป
Unspecified (narrative/ritual instruction within the chapter context)
Concept: Sacred continuity matters: the same consecrated fire is carefully transferred and used to complete the yajñopavīta-related rite, followed by purification acts like paryukṣaṇa.
Application: Carry integrity across transitions—don’t ‘restart’ carelessly. In daily life, keep one steady discipline and complete it with proper closure and cleansing steps.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: temple
Visual Art Cues: {"scene_description":"A priest carefully carries a glowing ember in a covered vessel toward the southern altar, where the dakṣiṇāgni awaits, its flames rising in disciplined tongues. He then completes the sacred-thread rite, and sprinkles sanctified water in a protective circle (paryukṣaṇa), forming a shimmering boundary around the fire.","primary_figures":["brāhmaṇa officiant","assistant (śiṣya)","sacred fire (Agni)"],"setting":"multi-fire yajña enclosure with clearly marked southern station, water pot, sprinkling ladle, and yajñopavīta cloth bundle","lighting_mood":"divine radiance","color_palette":["ember red","ash white","copper brown","marigold yellow","midnight blue"],"tanjore_prompt":"Tanjore painting style: dramatic yet serene transfer of sacred fire to the southern altar; gold leaf flames and haloed embers, ornate ritual vessels with gem-like highlights; priest completing yajñopavīta rite, followed by paryukṣaṇa shown as a ring of sparkling droplets; rich reds/greens and symmetrical temple-like framing.","pahari_prompt":"Pahari miniature style: delicate depiction of a yajña courtyard with three fire stations; the priest moving an ember pot toward the south; fine detailing of water sprinkling arcs; cool shadows and warm firelight interplay, refined faces, subtle landscape beyond the enclosure.","kerala_mural_prompt":"Kerala mural style: bold outlines of the priest and the southern fire station; stylized flames, patterned borders, and a clear circular paryukṣaṇa band; natural pigment palette with strong reds and yellows, temple-wall composition emphasizing ritual geometry.","pichwai_prompt":"Pichwai cloth painting style: central fire motif with directional lotuses marking the quarters; the southern lotus emphasized; gold and vermilion flames, intricate floral borders, and small conch-disc motifs; the sprinkling circle rendered as pearl-like dots around the altar."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["fire roar (controlled)","water sprinkle sounds","handbell accents","mantra cadence","brief silences for transitions"]}
Sandhi Resolution Notes: स एवाग्निः = सः + एव + अग्निः (visarga-lopa); अग्निर्द्विजोत्तमः = अग्निः + द्विजोत्तमः (visarga before voiced consonant → र्); यज्ञोपवीतान्निर्वर्त्य = यज्ञोपवीतात् + निर्वर्त्य (त् + न → न्न).
FAQs
It outlines a sequence in a Vedic-style rite: carrying/establishing the fire in the southern fire (Dakṣiṇāgni), completing the yajñopavīta-related procedure, and then performing paryukṣaṇa (ritual sprinkling) and related acts.
Paryukṣaṇa is a ritual sprinkling—typically of sanctified water—performed as a purificatory and protective act accompanying fire-ritual procedures.
Indirectly, yes: it emphasizes disciplined, orderly performance of sacred duties (karma/ācāra) and the importance of procedural purity in traditional rites.