Shloka 20
Procedure of Ācamana and Rules of Ritual Purity (Śauca)
होमयेद्वाथ दैवेन न तु पित्र्येण वै द्विजाः । त्रिःप्राश्नीयादपः पूर्वं ब्राह्मेण प्रयतस्ततः
homayedvātha daivena na tu pitryeṇa vai dvijāḥ | triḥprāśnīyādapaḥ pūrvaṃ brāhmeṇa prayatastataḥ
แล้วทวิชะพึงบูชาโหมะด้วยวิธีฝ่ายเทพ มิใช่วิธีฝ่ายปิตฤ ก่อนอื่นพึงอาจมนะน้ำสามครั้ง แล้วจึงสำรวมเคร่งครัด ดำเนินต่อด้วยพรหมพิธี
Unspecified (narratorial/disciplinary instruction within the Svargakhaṇḍa context)
Concept: Ritual acts must match their intended devatā and procedure; purity (trir-ācamana) and self-restraint (prayata) precede efficacious offering.
Application: Before any worship or important task: cleanse, center the mind, and be clear about whom/what the act is for; avoid mixing intentions (e.g., devotion vs. social obligation) in a single act.
Primary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"On a clean altar near the tīrtha, a small homa-kuṇḍa glows with steady flame as the dvija, freshly having sipped water thrice, offers ghee with a ladle while facing east. Behind him, ancestral śrāddha symbols are deliberately absent, emphasizing the daiva orientation; the air shimmers with mantra-heat and disciplined stillness.","primary_figures":["a dvija officiant","Agni (as sacred fire personified, subtle)","optional: faint devas receiving oblation as light-forms"],"setting":"tīrtha-side ritual platform with homa-kuṇḍa, darbha grass, ghee pot, water vessel, and mantra scroll/palm-leaf.","lighting_mood":"temple lamp-lit","color_palette":["flame orange","ghee gold","ash white","deep maroon","smoke blue"],"tanjore_prompt":"Tanjore painting style: dvija performing daiva-homa beside a river-ghāṭ, Agni rising as a stylized deity in the flames; gold leaf on the fire aura and offering ladle highlights, rich reds/greens in textiles, ornate ritual vessels with gem-like detailing.","pahari_prompt":"Pahari miniature style: intimate homa scene with delicate lines; small square kuṇḍa, thin smoke curling into a pale sky; the priest’s calm face and precise hand gesture captured; cool earthy palette with warm fire accents.","kerala_mural_prompt":"Kerala mural style: iconic Agni emerging from the kuṇḍa with bold outlines; dvija in stylized posture, ritual objects simplified into clear symbols; strong red/yellow/green with black contouring, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: central homa-kuṇḍa surrounded by lotus borders; stylized flames and symmetrical ritual implements; deep indigo background with gold highlights, peacocks perched near the ghāṭ steps, devotional ornamentation."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["crackling fire","mantra undertone","small bell punctuations","conch shell (opening)","river hush"]}
Sandhi Resolution Notes: homayedvātha = homayet + vā + atha; triḥprāśnīyādapaḥ = triḥ + prāśnīyāt + apaḥ
FAQs
It prescribes that the homa should be performed using the deva-oriented (daiva) procedure, not the pitṛ-oriented (ancestral) one, and that one should first do ācamanam—sipping water three times—before proceeding with the brāhma (Brahma/Brahmanical) rite in a purified, disciplined state.
Daiva refers to offerings and procedures directed to the gods (devas), while pitrya refers to offerings directed to ancestors (pitṛs). The verse distinguishes these ritual intentions and directs the practitioner to use the deva-oriented method for the stated homa.
It emphasizes ritual mindfulness and purity: correct intention (addressing the proper recipients), proper preparatory purification (ācamanam), and disciplined conduct (prayataḥ) before undertaking sacred action.