Shloka 92
Pitṛ-tīrtha Context: Marks of Sin, Śrāddha Discipline, and Karmic Ripening
in Yayāti’s Narrative
शूद्रो विप्रस्य क्षत्रस्य य आचारेण वर्तते । शिल्पिनः कारवो वैद्यास्तथा देवलका नराः
śūdro viprasya kṣatrasya ya ācāreṇa vartate | śilpinaḥ kāravo vaidyāstathā devalakā narāḥ
Ang Śūdra na namumuhay ayon sa itinakdang asal ng isang Brahmin o isang Kṣatriya—gayundin ang mga alagad ng sining, mga manggagawa, mga manggagamot, at ang mga lalaking naglilingkod sa mga templo (devalaka).
Unspecified (verse given without surrounding dialogue context)
Concept: Adherence to one’s prescribed conduct (ācāra) is treated as a moral boundary; imitating another varṇa’s ācāra is censured within this passage’s framework.
Application: Read as a historical dharma-text stance: reflect on integrity and role-ethics; avoid hypocrisy and exploitation of religious status; prioritize genuine virtue over mere external markers.
Primary Rasa: raudra
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A didactic court-like scene: a seated sage recites rules of conduct while different occupational groups—artisan with tools, physician with herbs, temple-servant with lamp—stand in orderly rows. Behind them, a symbolic wheel of dharma shows distinct spokes labeled with ācāra, suggesting boundaries and responsibilities.","primary_figures":["A teaching ṛṣi","Artisan (śilpin)","Craftsman (kāra/karava)","Physician (vaidya)","Temple-servant (devalaka)"],"setting":"Hermitage classroom or royal assembly hall with palm-leaf manuscripts, ritual vessels, and a small shrine in the background.","lighting_mood":"temple lamp-lit","color_palette":["warm ochre","leaf green","lamp-flame gold","clay brown","indigo shadow"],"tanjore_prompt":"Tanjore painting style: sage on a carved throne with gold-leaf halo, palm-leaf manuscript in hand; rows of occupational figures with richly patterned garments and gold ornaments; miniature shrine with Viṣṇu lamp in the corner; ornate arch and floral border, saturated reds/greens with gold embossing.","pahari_prompt":"Pahari miniature style: intimate teaching scene in a forest āśrama; delicate faces, soft greens and browns; each profession indicated by precise objects (scalpel/herb pouch, chisel, temple lamp); airy composition with fine linework and gentle shading.","kerala_mural_prompt":"Kerala mural style: frontal sage with large eyes, bold outlines; simplified yet iconic tools for each group; shrine lamp and temple motifs; strong red-yellow-green palette with rhythmic decorative bands.","pichwai_prompt":"Pichwai cloth painting style: central dharma-wheel motif surrounded by small vignettes of occupations; lotus borders and floral filigree; deep blue ground with gold highlights; subtle Vaiṣṇava shrine elements to anchor the Padma Purāṇa devotional ambience."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","rustle of palm leaves","low drone (tanpura)","distant birds"]}
Sandhi Resolution Notes: No major sandhi requiring split; vaidyāstathā = vaidyāḥ tathā (visarga sandhi).
FAQs
It lists social groups (Śūdra, artisans, craftsmen, physicians, temple-servants) and frames them in relation to ācāra—normative conduct—especially conduct associated with Brahmins and Kṣatriyas.
Devalaka commonly denotes temple-servants or temple functionaries—people whose livelihood is tied to service in a deity’s temple.
Yes: it emphasizes ācāra (right conduct/observance) as a key lens for describing people’s religious-social standing and duties.